After being hit by lightning, 12-year-old Lilah, who has a crush on classmate Andrew Finkel, discovers that she can communicate with dead people, including her grandmother who wants Lilah to find a new wife for Lilah's divorced father.

The Absolute at Large (Továrna na absolutno in the original Czech, literally translated as The Factory for the Absolute), is a science fiction novel written by Czech author Karel Čapek in 1922. The first sentence opens the story on New Year's Day 1943 -- a future date at the time of writing -- and describes the fundamental transformations in society as the result of a new mystical source of virtually free energy.

Hailed as "a chilling portrait" by The Boston Globe and "a crafty thriller" by Newsweek, this astonishing story of an obsessive hacker promises to change the way you look at the Internet forever. At Large chronicles the massive manhunt that united hard-nosed FBI agents, computer nerds, and uptight security bureaucrats against an elusive computer outlaw who broke into highly secured computer systems at banks, universities, federal agencies, and top-secret military weapons-research sites. Here is "a real-life tale of cops vs. hackers, by two technology writers with a flair for turning a complicated crime and investigation into a fast-moving edge-of-your-seat story" (Kirkus Reviews, starred). At Large blows the lid off the frightening vulnerability of the global online network, which leaves not only systems, but also individuals, exposed.

Immanuel Kant’s Critique of Judgment, Thierry de Duve argues in the first volume of Aesthetics at Large, is as relevant to the appreciation of art today as it was to the enjoyment of beautiful nature in 1790. Going against the grain of all aesthetic theories situated in the Hegelian tradition, this provocative thesis, which already guided de Duve’s groundbreaking book Kant After Duchamp (1996), is here pursued in order to demonstrate that far from confining aesthetics to a stifling formalism isolated from all worldly concerns, Kant’s guidance urgently opens the understanding of art onto ethics and politics. Central to de Duve’s re-reading of the Critique of Judgment is Kant’s idea of sensus communis, ultimately interpreted as the mere yet necessary idea that human beings are capable of living in peace with one another. De Duve pushes Kant’s skepticism to its limits by submitting the idea of sensus communis to various tests leading to questions such as: Do artists speak on behalf of all of us? Is art the transcendental ground of democracy? Or, Was Adorno right when he claimed that no poetry could be written after Auschwitz? Loaded with de Duve’s trademark blend of wit and erudition and written without jargon, these essays radically renew current approaches to some of the most burning issues raised by modern and contemporary art. They are indispensable reading for anyone with a deep interest in art, art history, or philosophical aesthetics.

Book Three of the Magic Kingdom of Landover Series It all began when the half-able wizard Questor Thews announced that finally he could restore the Court Scribe Abernathy to human form. It was his spell that had turned Abernathy into a Wheaten Terrier—though with hands and able to talk. All went well—until the wizard breathed the magic dust of his spell and suddenly sneezed. Then, where Abernathy had stood, there was only a bottle containing a particularly evil imp. It had been in the collection of Michael Ard Rhi, former King of Landover, now exiled to Earth. Abernathy must now be a part of that collection! High Lord Ben Holiday set forth for Earth, taking his green but beautiful love, Willow, with him. Unfortunately, they were long in returning. And without the soil in which to root as a tree at times, Willow could not long survive. That left it up to Questor Thews to save them. Grimly he set out to seek help, knowing himself to be incompetent. And to make things worse, the imp had escaped and sought the help of the evil witch Nightshade, now back from exile in Faerie. Questor's only idea seemed impossible, but . . .