Viking marauders descend on a much-plundered island, hoping some mayhem will shake off the winter blahs. A man is booted out of his home after his wife discovers that the print of a bare foot on the inside of his windshield doesn't match her own. Teenage cousins, drugged by summer, meet with a reckoning in the woods. A boy runs off to the carnival after his stepfather bites him in a brawl. In the stories of Wells Tower, families fall apart and messily try to reassemble themselves. His version of America is touched with the seamy splendor of the dropout, the misfit: failed inventors, boozy dreamers, hapless fathers, wayward sons. Combining electric prose with savage wit, Everything Ravaged, Everything Burned is a major debut, announcing a voice we have not heard before.

Children who grow up outside of their parent's passport country, Third Culture Kids (TCKs), experience a significant number of losses, grief-inducing experiences, and traumas during their developmental years. These events stack up like blocks on a tower throughout the life of the TCK, creating what Lauren Wells has coined the Grief Tower. If it continues to stack without these experiences being processed, a TCK's Grief Tower is likely to crash in their early adulthood. But is this avoidable? Can parents and caregivers provide care that prevents the tower from stacking too high in the first place? The answer is yes, and this practical resource is full of tools for helping the TCKs we love to process their grief.

Learn about the Eiffel Tower, beloved and iconic symbol of Paris, France, and one of the most recognizable structures in the world! When the plans for the Eiffel Tower were first announced, many people hated the design of the future landmark, calling it ungainly and out of step with the beautiful stone buildings of the city. But once it went up for the World's Fair in 1889, the people of Paris quickly fell in love with the tower. Today it seems impossible to imagine Paris without the Eiffel Tower, which greets millions of visitors each year who climb up its wrought-iron stairs, ride its glass elevators, and enjoy the wonderful views of the city spread out below it. This book, part of the New York Times best-selling series, is enhanced by eighty illustrations.

A drove of pigs, a romp of otters, an ostentation of peacocks, and a tower of giraffes. . . . This clever book introduces young readers to some of the words we use to refer to animals in a group. The ink, watercolor, and fabric collage art is brightly colored and uniquely sets this fun book apart from the crowd. Each page presents information about an animal and its group behavior, such as how geese fly in a V-shape and honk to encourage the leaders, and that sometimes tens of thousand of flamingos meet up in one location. Young readers will have a great time and create a wellspring of new vocabulary words.

A cultural history of gigantism in architecture and digital culture, from the Eiffel Tower to the World Trade Center. The gigantic is everywhere, and gigantism is manifest in everything from excessively tall skyscrapers to globe-spanning digital networks. In this book, Henriette Steiner and Kristin Veel map and critique the trajectory of gigantism in architecture and digital culture—the convergence of tall buildings and networked infrastructures—from the Eiffel Tower to One World Trade Center. They show how these two forms of gigantism intersect in the figure of the skyscraper with a transmitting antenna on its roof, a gigantic building that is also a nodal point in a gigantic digital infrastructure. Steiner and Veel focus on two paradigmatic tower sites: the Eiffel Tower and the Twin Towers of the destroyed World Trade Center (as well as their replacement, the One World Trade Center tower). They consider, among other things, philosophical interpretations of the Eiffel Tower; the design and destruction of the Twin Towers; the architectural debates surrounding the erection of One World Trade Center on the Ground Zero site; and such recent examples of gigantism across architecture and digital culture as Rem Koolhaas's headquarters for China Central TV and the phenomenon of the “tech giant.” Examining the cultural, architectural, and media history of these towers, they analyze the changing conceptions of the gigantism that they represent, not just as physical structures but as sites for the projection of cultural ideas and ideals.