A House in the Sun describes a number of experiments in solar house heating in the 1940s and 1950s. It shows how resource limitations were seen as an opportunity for design to attain new relevance for social and cultural transformations.

Meet Eileen Gray, the female architect behind the world-renowned E-1027 house and a pioneer of the Modern Movement in architecture. In 1924, her work began in earnest on a small villa by the sea in the south of France. Nearly a century later, this structure is a design milestone. But like so many gifted female artists and designers of her time, Eileen Gray's story has been eclipsed by the men with whom she collaborated. Dzierżawska's exquisite visuals illuminate the previously overlooked struggles and triumphs of a young queer Irish designer whose work and life came to bloom during the 'Années Folles' of early 20th century Paris.

Bestselling author James Lee Burke’s “stunning” (Publishers Weekly, starred review) masterpiece is the story of a father and son separated by war, circumstance, and a race for the Holy Grail—a thrilling entry in the Holland family saga. After a violent encounter that leaves four Mexican soldiers dead, Texas Ranger Hackberry Holland escapes the country in possession of a stolen artifact believed to be the mythic cup of Christ, earning the ire of a bloodthirsty Austrian arms dealer who places Hack’s son, Ishmael, squarely in the cross hairs of a plot to recapture his prize. On the journey from revolutionary Mexico in 1918 to the saloons of San Antonio during the Hole in the Wall Gang’s reign, we meet three extraordinary women: the Danish immigrant who is Ishmael’s mother and Hackberry’s one true love; a brothel madam descended from the Crusader knight who brought the Shroud of Turin back from the Holy Land; and a onetime lover of the Sundance Kid, whose wiles rival those of Lady Macbeth. In her own way, each woman will aid Hack in his quest to reconcile with Ishmael, to vanquish their enemies, and to return the Grail to its rightful place. An epic tale of love, loss, betrayal, vengeance, and retribution, The House of the Rising Sun further cements Burke’s reputation as “one of America’s all-time masters” (New York Journal of Books).

A House in the Sun describes a number of experiments in solar house heating in American architectural, engineering, political, economic, and corporate contexts from the beginning of World War II until the late 1950s. Houses were built across the Midwest, Northeast, and Southwestern United States, and also proposed for sites in India, South Africa, and Morocco. These experiments developed in parallel to transformations in the discussion of modern architecture, relying on new materials and design ideas for both energy efficiency and claims to cultural relevance. Architects were among the myriad cultural and scientific actors to see the solar house as an important designed element of the American future. These experiments also developed as part of a wider analysis of the globe as an interconnected geophysical system. Perceived resource limitations in the immediate postwar period led to new understandings of the relationship between energy, technology and economy. The solar house - both as a charged object in the milieu of suburban expansion, and as a means to raise the standard of living in developing economies - became an important site for social, technological, and design experimentation. This led to new forms of expertise in architecture and other professions. Daniel Barber argues that this mid-century interest in solar energy was one of the first episodes in which resource limitations were seen as an opportunity for design to attain new relevance for potential social and cultural transformations. Furthermore, the solar discussion established both an intellectual framework and a funding structure for the articulation of and response to global environmental concerns in subsequent decades. In presenting evidence of resource tensions at the beginning of the Cold War, the book offers a new perspective on the histories of architecture, technology, and environmentalism, one more fully entangled with the often competing dynamics of geopolitical and geophysical pressures.

In this extraordinary novel in letters, an Indian immigrant girl in New York City and a Kentucky coal miner's son find strength and perspective by sharing their true selves across the miles. Meena and River have a lot in common: fathers forced to work away from home to make ends meet, grandmothers who mean the world to them, and faithful dogs. But Meena is an Indian immigrant girl living in New York City’s Chinatown, while River is a Kentucky coal miner’s son. As Meena’s family studies for citizenship exams and River’s town faces devastating mountaintop removal, this unlikely pair become pen pals, sharing thoughts and, as their camaraderie deepens, discovering common ground in their disparate experiences. With honesty and humor, Meena and River bridge the miles between them, creating a friendship that inspires bravery and defeats cultural misconceptions. Narrated in two voices, each voice distinctly articulated by a separate gifted author, this chronicle of two lives powerfully conveys the great value of being and having a friend and the joys of opening our lives to others who live beneath the same sun.

Venturing to the Kingdom of Hawaii when a megacorporate exec demands payment of an old debt, shadowrunner Dirk Montgomery finds himself having to outrun the corrupt factions battling for island control. Original.

Camus’s Meursault and Thelma and Louise meet up under the blazing sun. Vexed by the ‘unremarkable star’ that ‘presses’ Camus’s Meursault to commit murder, Because the Sun considers the blazing sun as a material symbol of ambient violence – violence absorbed like heat and fired at the nearest victim. Likewise, as a friendship between women confronts gendered aggression in Thelma and Louise, the sun becomes the repository of pain, the high noon that pushes us through desert after desert. Because the Sun’s pastiche of voices embodies both stylistic and formal relentlessness by teasing out tonalities that blend and merge into each other, generating a blinding effect, like looking into the sun. “Breathless and death defying, the poems in Because the Sun are high-wire work. They sway above us in a blazing light of Burgoyne’s making. It is so rare that a book of poems is both a tuning fork for our minds as well as a balm for our bodies. But that is exactly what happens page after page in this blazing book.” —Michael Dickman, author of Days & Days “This beautiful work wraps Camus’s The Stranger in a poetics concerning erasure/+ hope. Out of the titular Sun’s burning punctum burst telling shards of what is erased by Camus’s remarkable construction of whiteness in-the-masculine: the dead ‘Arab,’ the female body’s interminable violations – but also its warming, even blinding capacity for consequential pleasures.” —Gail Scott, author of Heroine “Sarah Burgoyne begins with the sun and ends with flowers. In between is a complicated exploration of what it means to exist within a tradition that is Camus, Rimbaud, Blake. Taking her cue from Sara Ahmed, she notices how hard it is to challenge this tradition and yet that it matters to do it anyway.” —Juliana Spahr, author of That Winter the Wolf Came