Abnormalities. We live in a world where it has become customary to attach a label to people who deviate from the norm. Since the American DSM, the Diagnostic and Statistical Manual of Mental Disorders, is also used in the Netherlands, Dutch adults and children who differ from the majority are labelled and classified as patients suffering from ADHD, PDD-NOS, Asperger's, Borderline or Autism/ASD. Exquisite Errors is about deviating from the norm and the beauty this entails. Barry van der Rijt, visual artist and diagnosed with ADHD, believes that an abnormal brain can lead to something very beautiful. During a period of two years he obsessively collected hundreds of abnormalities in his chosen artistic field of digital film. Inspired by the DSM he created, based on these codec errors, his own classification of disorders, by defining, categorizing and labelling them. However, always avoiding negative labels. Because is it wrong to deviate from the norm?

When Denis Donoghue left Warrenpoint and went to Dublin in September 1946, he entered University College as a student of Latin and English. A few months later he also started as a student of lieder at the Royal Irish Academy of Music. These studies have informed his reading of English, Irish, and American literature. Now in this volume, one of our most distinguished readers of modern literature offers his most personal book of literary criticism. Donoghue's Words Alone is an intellectual memoir, a lucid and illuminating account of his engagement with the works of T. S. Eliot--from initial undergraduate encounters with "The Love Song of J. Alfred Prufrock" to later submission to Eliot's entire writings. "The pleasure of Eliot's words persists," Donoghue says, "only because in good faith it can't be denied." Submission to Eliot, in Donoghue's case, involves the ear as much as it does the mind. He is a reader who listens attentively and a writer whose own music in these pages commands attention. Whether he is writing about Eliot's poetry or confronting the (often contentious) prose, Donoghue eloquently demonstrates what it means to read and to hear a master of language.

'Exquisite Corpse' was a game played by the surrealists in which someone drew on a piece of paper, folded it and passed it to the next person to draw on until, finally, the sheet was opened to reveal a calculated yet random composition. In this entertaining and provocative book, Michael Sorkin suggests that cities are similarly assembled by many players acting with varying autonomy in a complicit framework. An unfolding terrain of invention, the city is also a means of accommodating disparity, of contextualizing sometimes startling juxtapositions. Sorkin's aim is to widen the debate about the creation of buildings beyond the immediate issues of technology and design. He discusses the politics and culture of architecture with daring, often devastating, observations about the institutions and personalities who have dominated the profession over the past decade. Their preoccupation with the empty style of 'beach houses and Disneyland' has consistently trivialized the full constructive scope of contemporary architecture's possibilities. Sorkin's interventions range from the development scandals of New York where 'skyscrapers stand at the intersection between grid and greed', through the deconstructivist architectural culture of Los Angeles, to the work and ideas of architects, developers and critics such as Alvar Aalto, Norman Foster, Paul Goldberger, Michael Graves, Coop Himmelblau, Philip Johnson, Leon Krier, Frank Lloyd Wright, Richard Rogers, Carlo Scarpa, James Stirling, Donald Trump, Tom Wolfe and Lebbeus Woods. Throughout Sorkin combines stinging polemic with a powerful call for a rebirth of architecture that is visionary and experimental--a recuperated 'dreamy science'

For fans of Laini Taylor’s Daughter of Smoke and Bone series and Leigh Bardugo’s Grisha Trilogy comes the first book in the Dark Caravan Cycle, a modern fantasy-adventure trilogy about a gorgeous, fierce eighteen-year-old jinni who is pitted against two magnetic adversaries, both of whom want her—and need her—to make their wishes come true. Nalia is a jinni of tremendous ancient power, the only survivor of a coup that killed nearly everyone she loved. Now in hiding on the dark caravan—the lucrative jinni slave trade between Arjinna and Earth, where jinn are forced to grant wishes and obey their human masters’ every command—she’d give almost anything to be free of the golden shackles that bind her to Malek, her handsome, cruel master, and his lavish Hollywood lifestyle. Enter Raif, the enigmatic leader of Arjinna’s revolution and Nalia’s sworn enemy. He promises to release Nalia from her master so she can return to her ravaged homeland and free her imprisoned brother. There’s just one catch: for Raif’s unbinding magic to work, Nalia must gain possession of her bottle . . . and convince the dangerously persuasive Malek that she truly loves him.

The book studies the impact of Stevensian and Valeryan poetics, and symbolist poetics more broadly, on a range of Anglo-American poets in untypical fashion. Pairing poets who are not usually studied in their relation to one another reveals mutuality and dissimilitude. Chapter I looks at Stevens and Valery from the vantage point of the senses as opposed to the more usual lens of their similar cerebral or philosophical temperaments. Although critics have largely and justifiably seen Stevens and Eliot in oppositional terms (Stevens proclaims them dead opposites), Lisa Goldfarb asks what happens when we look at them from the vantage point of their mutual interest in creating a musical poetics. Auden is principally known for his distaste for the symbolists and their magical poetics, yet he reserves special praise for Valery and considers him as his poetic mentor; Chapter III studies their poetics side-by-side. With Stevens and Audens mutual appreciation of Valery as a starting point, Chapter IV turns to a closer comparative study of Auden and Stevens, two poets who have traditionally been seen as operating in distinct poetic spheres. While Elizabeth Bishop famously eludes categorization in terms of poetic school or affiliation, a fifth chapter addresses her poetic music in relation to French symbolist poetics, one of the many poetic schools she admired. A sixth and final chapter examines Stevens musical legacy, in large part derived from the symbolists, and addresses the work of a range of modern and contemporary poets, with a final section devoted to the work of contemporary poet, Susan Howe.

This set comprises of 40 volumes covering nineteenth and twentieth century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.