I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

An odyssey of family, heartbreak, violence, punk rock, brokenness, broke-ness, sex, love, loss, drinking, drinking, drinking, and an unlikely savior: distance running. A misfit kid at the best of times, Mishka Shubaly had his world shattered when, in a twenty-four-hour span in 1992, he survived a mass shooting on his school's campus, then learned that his parents were getting divorced. His father, a prominent rocket scientist, abandoned the family and their home was lost to foreclosure. Shubaly swore to avenge the wrongs against his mother, but instead plunged into a magnificently toxic love affair with alcohol. Almost two decades later, Shubaly's life changed again when a fateful five-mile run after a bar fight inspired him to clean up his life. And when he finally reconnected with his estranged father, he discovered the story of his childhood was radically different from what he thought he knew. In this fiercely honest, emotional, and self-laceratingly witty book, Shubaly relives his mistakes, misfortunes, and infrequent good decisions: the disastrous events that fractured his life; his incendiary romances; his hot-and-cold career as a rock musician; meeting his newborn nephew while out of his gourd on cough syrup. I Swear I'll Make It Up to You is an apology for choices Shubaly never thought he'd live long enough to regret, a journey so far down the low road that it took him years of running to claw his way back.

"One foggy, groggy morning By the salty, splashy sea I'm sure I saw a dinosaur And I'm sure that he saw me." But there's more to this story than meets the eye. Can there really be a dinosaur at Sandy Bottom End? Or is someone up to something...

Caldecott Medalist Allen Say presents a stunning graphic novel chronicling his journey as an artist during WWII, when he apprenticed under Noro Shinpei, Japan's premier cartoonist DRAWING FROM MEMORY is Allen Say's own story of his path to becoming the renowned artist he is today. Shunned by his father, who didn't understand his son's artistic leanings, Allen was embraced by Noro Shinpei, Japan's leading cartoonist and the man he came to love as his "spiritual father." As WWII raged, Allen was further inspired to consider questions of his own heritage and the motivations of those around him. He worked hard in rigorous drawing classes, studied, trained--and ultimately came to understand who he really is. Part memoir, part graphic novel, part narrative history, DRAWING FROM MEMORY presents a complex look at the real-life relationship between a mentor and his student. With watercolor paintings, original cartoons, vintage photographs, and maps, Allen Say has created a book that will inspire the artist in all of us.

The lives of four high school seniors intersect weeks before a meteor is set to pass through Earth's orbit, with a 66.6% chance of striking and destroying all life on the planet.

"After Leslie Gatlin kills herself, her bullies reflect on how things got so far"-- Provided by publisher.

For centuries, humans have excelled at mimicking nature in order to exploit it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what function a newly invigorated mimetic faculty might exert along with such change. Mastery of Non-Mastery in the Age of Meltdown is not solely a reflection on our condition but also a theoretical effort to reckon with the impulses that have fed our relentless ambition for dominance over nature. Taussig seeks to move us away from the manipulation of nature and reorient us to different metaphors and sources of inspiration to develop a new ethical stance toward the world. His ultimate goal is to undo his readers’ sense of control and engender what he calls “mastery of non-mastery.” This unique book developed out of Taussig’s work with peasant agriculture and his artistic practice, which brings performance art together with aspects of ritual. Through immersive meditations on Walter Benjamin, D. H. Lawrence, Emerson, Bataille, and Proust, Taussig grapples with the possibility of collapse and with the responsibility we bear for it.