First Words, Last Words charts an intense "pamphlet war" that took place in sixteenth-century South India. Yigal Bronner and Lawrence McCrea explore this controversy as a case study in the dynamics of innovation in early modern India, a time of great intellectual innovation. This debate took place within the traditional discourses of Vedic Hermeneutics, or M=im=a.ms=a, and its increasingly influential sibling discipline of Ved=anta, and its proponents among the leading intellectuals and public figures of the period. Bronner and McCrea examine the nature of theoretical innovation in scholastic traditions by focusing on a specific controversy regarding scriptural interpretation and the role of sequence-what comes first and what follows later-in determining our interpretation of a scriptural passage. Vy=asat=irtha and his grand-pupil Vijay=indrat=irtha, writers belonging to the camp of Dualist Ved=anta, purported to uphold the radical view of their founding father, Madhva, who believed, against a long tradition of M=im=a.ms=a interpreters, that the closing portion of a scriptural passage should govern the interpretation of its opening. By contrast, the Nondualist Appayya D=ik.sita ostensibly defended his tradition's preference for the opening. But, as this volume shows, the debaters gradually converged on a profoundly novel hermeneutic-cognitive theory in which sequence played little role, if any. First Words, Last Words traces both the issue of sequence and the question of innovation through an in-depth study of this debate and through a comparative survey of similar problems in Judaism, Christianity, and Islam, revealing that the disputants in this controversy often pretended to uphold traditional views, when they were in fact radically innovative.

An NYRB Classics Original When the pioneering Taiwanese novelist Qiu Miaojin committed suicide in 1995 at age twenty-six, she left behind her unpublished masterpiece, Last Words from Montmartre. Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women—their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu’s genre-bending novel is at once a psychological thriller, a sublime romance, and the author’s own suicide note. The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders—until the genderless character Zoë appears, and the narrator’s spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima’s Confessions of a Mask, Goethe’s The Sorrows of Young Werther, and Theresa Cha’s Dictée, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.

Nine months after Danny disappeared, his closest friends, Ellie, Rae, and Deenie, deal with their loss very differently but will have to share secrets about the night he disappeared to uncover the truth. Chapters alternate between past and present.

An exploration of the excruciating travails and sudden, immeasurable success of a Roberto Bolaño-esque writer.

Some beg for forgiveness. Others claim innocence. At least three cheer for their favorite football teams. Death waits for us all, but only those sentenced to death know the day and the hour—and only they can be sure that their last words will be recorded for posterity. Last Words of the Executed presents an oral history of American capital punishment, as heard from the gallows, the chair, and the gurney. The product of seven years of extensive research by journalist Robert K. Elder, the book explores the cultural value of these final statements and asks what we can learn from them. We hear from both the famous—such as Nathan Hale, Joe Hill, Ted Bundy, and John Brown—and the forgotten, and their words give us unprecedented glimpses into their lives, their crimes, and the world they inhabited. Organized by era and method of execution, these final statements range from heartfelt to horrific. Some are calls for peace or cries against injustice; others are accepting, confessional, or consoling; still others are venomous, rage-fueled diatribes. Even the chills evoked by some of these last words are brought on in part by the shared humanity we can’t ignore, their reminder that we all come to the same end, regardless of how we arrive there. Last Words of the Executed is not a political book. Rather, Elder simply asks readers to listen closely to these voices that echo history. The result is a riveting, moving testament from the darkest corners of society.

A murder. A missing manuscript. An undying love. Thisbe Chisholm wants to be a writer. It's 2007, a time of digital revolution and skyrocketing property prices, but she's an old-fashioned girl. She doesn't even own a mobile phone. She has no stars-in-her-eyes desire for fame, to see her name on the cover of a book, either. She longs only to tell of the stories written on her heart. While her best friends, Penny and Jane, and her darling boyfriend, John, seem set for stellar careers in their chosen fields, Thisbe works nights as a hostess at a glitzy harbourside Sydney club - a job she despises but it's paid the rent for the last three years since university graduation. Just as she completes her novel, though, she is brutally killed at the end of John's street. Who murdered Thisbe? What will become of her novel? From the gritty glamour of Bondi Beach to the cold streets of London, here is a tale of tragedy and literary betrayal, of a publishing industry grappling with change and a great love drowning in guilt-wracked grief. Haunting, whimsical and sharply observed, Her Last Words lays bare the truth that, while some crimes might go unpunished among the privileged, words themselves have a way of enduring - and exacting a justice all their own. Praise for Kim Kelly 'deeply moving...alive, full-hearted and shimmering with hope' - Belinda Castles, Bluebottle 'Kelly is a masterful creator of character and voice.' - Julian Leatherdale, Palace of Tears 'history that makes you think as well as feel' - Wendy James, The Golden Child 'an author who writes with such a striking sense of atmosphere and sublime instinct' - Theresa Smith Writes 'storytelling is clearly encoded in her DNA' - Writerful Books 'It is uplifting to know that there are people who can write like this, with clarity, a bit of devilment and a hint of a smile.' Canberra Times 'marvellous depth and authenticity based on some impressive research, and her characters, plot and fluid prose draw the reader into this world' - Daily Telegraph 'colourful, evocative and energetic' - Sydney Morning Herald 'storytelling that breaks the rules so beautifully' - Jenn J McLeod, A Place to Remember 'Kim Kelly's writing is magnificent' - With Love for Books 'told with wit, warmth and courage' - Kylie Mason, The Newtown Review of Books 'vivid and enthralling' - Lisa Walker, The Girl with the Gold Bikini 'simply superb' - Karen Brooks, The Darkest Shore