In much of modern fiction, it is the clothes that make the character. Garments embody personal and national histories. They convey wealth, status, aspiration, and morality (or a lack thereof). They suggest where characters have been and where they might be headed, as well as whether or not they are aware of their fate. At the Mercy of Their Clothes explores the agency of fashion in modern literature, its reflection of new relations between people and things, and its embodiment of a rapidly changing society confronted by war and cultural and economic upheaval. In some cases, people need garments to realize themselves. In other cases, the clothes control the person who wears them. Celia Marshik's study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory. She focuses on four distinct categories of modern clothing: the evening gown, the mackintosh, the fancy dress costume, and secondhand attire. In their use of these clothes, we see authors negotiate shifting gender roles, weigh the value of individuality during national conflict, work through mortality, and depict changing class structures. Marshik's dynamic comparisons put Ulysses in conversation with Rebecca, Punch cartoons, articles in Vogue, and letters from consumers, illuminating opinions about specific garments and a widespread anxiety that people were no more than what they wore. Throughout her readings, Marshik emphasizes the persistent animation of clothing—and objectification of individuals—in early-twentieth-century literature and society. She argues that while artists and intellectuals celebrated the ability of modern individuals to remake themselves, a range of literary works and popular publications points to a lingering anxiety about how political, social, and economic conditions continued to constrain the individual.

Exiled from heaven, a lost soul seeks her soulmate ... Age 13+ Mercy 'wakes' on a school bus bound for Paradise, a small town where everyone knows everyone else's business - or thinks they do. But they will never guess the secret Mercy is hiding .... As an angel exiled from heaven and doomed to return repeatedly to Earth, Mercy is never sure whose life and body she will share each time. And her mind is filled with the desperate pleas of her beloved, Luc, who can only approach her in her dreams. In Paradise, Mercy meets Ryan, whose sister was kidnapped two years ago and is now presumed dead. When another girl disappears, Mercy and Ryan know they must act before time runs out. But a host of angels are out for Mercy's blood and they won't rest until they find her and punish her - for a crime she doesn't remember committing ... An electric combination of angels, mystery and romance, MERCY is the first book in a major new series.

A collection of poems by twentieth-century American poet Norman Dubie.

A powerful tragedy distilled into a small masterpiece by the Nobel Prize-winning author of Beloved and, almost like a prelude to that story, set two centuries earlier. Jacob is an Anglo-Dutch trader in 1680s United States, when the slave trade is still in its infancy. Reluctantly he takes a small slave girl in part payment from a plantation owner for a bad debt. Feeling rejected by her slave mother, 14-year-old Florens can read and write and might be useful on his farm. Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from the handsome blacksmith, an African, never enslaved, who comes riding into their lives . . . At the novel's heart, like Beloved, it is the ambivalent, disturbing story of a mother and a daughter – a mother who casts off her daughter in order to save her, and a daughter who may never exorcise that abandonment.

The acclaimed novel by the author of The Why of Things tackles “the Deep South during the Gothic worst of Jim Crow times . . . truly a bravura performance” (Geoffrey Wolff). “One of the finest writers of her generation,” and author of three previously acclaimed novels, Elizabeth H. Winthrop delivers a brave new book that will launch her distinguished career anew (Brad Watson). On the eve of his execution, eighteen-year-old Willie Jones sits in his cell in New Iberia awaiting his end. Across the state, a truck driven by a convict and his keeper carries the executioner’s chair closer. On a nearby highway, Willie’s father Frank lugs a gravestone on the back of his fading, old mule. In his office the DA who prosecuted Willie reckons with his sentencing, while at their gas station at the crossroads outside of town, married couple Ora and Dale grapple with their grief and their secrets. As various members of the township consider and reflect on what Willie’s execution means, an intricately layered and complex portrait of a Jim Crow era Southern community emerges. Moving from voice to voice, Winthrop elegantly brings to stark light the story of a town, its people, and its injustices. The Mercy Seat is a brutally incisive and tender novel from one of our most acute literary observers. “Artful and succinctly poetic . . . A worthy novel that gathers great power as it rolls on propelled by its many voices.”—The New York Times Book Review “A miracle of a novel, with rapid-fire sentences that grab you and propel you to the next page . . . It’s a breakout. It’s a wonder.”—Dallas Morning News

A Sufi scholar’s philosophical interpretation of the names of God The Divine Names is a philosophically sophisticated commentary on the names of God. Penned by the seventh-/thirteenth-century North African scholar and Sufi poet ʿAfīf al-Dīn al-Tilimsānī, The Divine Names expounds upon the one hundred and forty-six names of God that appear in the Qurʾan, including The All-Merciful, The Powerful, The First, and The Last. In his treatment of each divine name, al-Tilimsānī synthesizes and compares the views of three influential earlier authors, al-Bayhaqī, al-Ghazālī, and Ibn Barrajān. Al-Tilimsānī famously described his two teachers Ibn al-ʿArabī and al-Qūnawī as a “philosophizing mystic” and a “mysticizing philosopher,” respectively. Picking up their mantle, al-Tilimsānī merges mysticism and philosophy, combining the tenets of Akbari Sufism with the technical language of Aristotelian, Neoplatonic, and Avicennan philosophy as he explains his logic in a rigorous and concise way. Unlike Ibn al-ʿArabī, his overarching concern is not to examine the names as correspondences between God and creation, but to demonstrate how the names overlap at every level of cosmic existence. The Divine Names shows how a broad range of competing theological and philosophical interpretations can all contain elements of the truth.