Finalist for the 2015 Giller Prize Among The National Post's Top 5 Books of 2015 Among The Toronto Star's Top 5 Fiction Books of 2015 Among Largehearted Boy's Favourite Novels of 2015 One of Quill & Quire’s Books of the Year, 2015 Among The Edmonton Journal's Top 5 Books of 2015 A 49th Shelf Book of the Year, 2015 Among NOW Toronto's Top 10 Books of 2015 Martin John’s mam says that she is glad he is done with it. But is Martin John done with it? He says he wants it to stop, his mother wants it to stop, we all want it to stop. But is it really what Martin John wants? He had it in his mind to do it and he did it. Harm was done when he did it. Harm would continue to be done. Who will stop Martin John? Will you stop him? Should she stop him? From Anakana Schofield, the brilliant author of the bestselling Malarky, comes a darkly comic novel circuiting through the mind, motivations and preoccupations of a character many women have experienced but few have understood quite so well. The result confirms Schofield as one of the bravest and most innovative authors at work in English today. Anakana Schofield is an Irish-born writer, who won the Amazon.ca First Novel Award and the Debut-Litzer Prize for Fiction in 2013 for her debut novel Malarky.

In Martin and John, Dale Peck weaves together two sets of stories to create a haunting, heartrending portrait of an artist in our time. The first is told episodically by John, a hustler in New York, who falls in love with Martin, a man dying of AIDS. Interwoven with these stories is a second set, in which characters named Martin and John appear, but living different lives. The resulting novel is a work of stunning originality that is "inspired and brilliant" (The Nation).

This is a nonchronological introduction to Baroque, one of the great periods of European art. John Martin's descriptions of the essential characteristics of the Baroque help one to gain an understanding of the style. His illustrations are informative and he has clearly looked with a fresh eye at the works of art themselves. In addition to the more than 200 illustrations, the volume contains an appendix of translated documents.

During the 1940s and 1950s, one name, John Bartlow Martin, dominated the pages of the "big slicks," the Saturday Evening Post, LIFE, Harper's, Look, and Collier's. A former reporter for the Indianapolis Times, Martin was one of a handful of freelance writers able to survive solely on this writing. Over a career that spanned nearly fifty years, his peers lauded him as "the best living reporter," the "ablest crime reporter in America," and "one of America's premier seekers of fact." His deep and abiding concern for the working class, perhaps a result of his upbringing, set him apart from other reporters. Martin was a key speechwriter and adviser to the presidential campaigns of many prominent Democrats from 1950 into the 1970s, including those of Adlai Stevenson, John F. Kennedy, Lyndon B. Johnson, Robert F. Kennedy, Hubert Humphrey, and George McGovern. He served as U.S. ambassador to the Dominican Republic during the Kennedy administration and earned a small measure of fame when FCC Chairman Newton Minow introduced his description of television as "a vast wasteland" into the nation's vocabulary.

A new trade paperback edition of "a masterpiece of symbolically charged realism....Fowles is the only writer in English who has the power, range, knowledge, and wisdom of a Tolstoy or James" (John Gardner, Saturday Review). The eponymous hero of John Fowles's largest and richest novel is an English playwright turned Hollywood screenwriter who has begun to question his own values. Summoned home to England to visit an ailing friend, Daniel Martin finds himself back in the company of people who once knew him well, forced to confront his buried past, and propelled toward a journey of self-discovery through which he ultimately creates for himself a more satisfying existence. A brilliantly imagined novel infused with a profound understanding of human nature, Daniel Martin is John Fowles at the height of his literary powers.

The Explanation of Social Action is a sustained critique of the conventional understanding of what it means to "explain" something in the social sciences. It makes the strong argument that the traditional understanding involves asking questions that have no clear foundation and provoke an unnecessary tension between lay and expert vocabularies. Drawing on the history and philosophy of the social sciences, John Levi Martin exposes the root of the problem as an attempt to counterpose two radically different types of answers to the question of why someone did a certain thing: first person and third person responses. The tendency is epitomized by attempts to explain human action in "causal" terms. This "causality" has little to do with reality and instead involves the creation and validation of abstract statements that almost no social scientist would defend literally. This substitution of analysts' imaginations over actors' realities results from an intellectual history wherein social scientists began to distrust the self-understanding of actors in favor of fundamentally anti-democratic epistemologies. These were rooted most defensibly in a general understanding of an epistemic hiatus in social knowledge and least defensibly in the importation of practices of truth production from the hierarchical setting of institutions for the insane. Martin, instead of assuming that there is something fundamentally arbitrary about the cognitive schemes of actors, focuses on the nature of judgment. This implies the need for a social aesthetics, an understanding of the process whereby actors intuit intersubjectively valid qualities of complex social objects. In this thought-provoking and ambitious book, John Levi Martin argues that the most promising way forward to such a science of social aesthetics will involve a rigorous field theory.