NEW YORK TIMES BESTSELLER • From the author of The Constant Rabbit comes “Harry Potter just for adults . . . [an] immensely enjoyable, almost compulsive experience” (The New York Times Book Review)—the second novel in the renowned Thursday Next series. “[Lost in a Good Book] is satire, fantasy, literary criticism, thriller, whodunit, game, puzzle, joke, postmodern prank, and tilt-a-whirl.”—The Washington Post If resourceful, fearless literary detective Thursday Next thought she could avoid the spotlight after her heroic escapades in the pages of Jane Eyre, she was sorely mistaken. Her adventures as a renowned Special Operative in literary detection have left Thursday Next yearning for a rest. But when the love of her life is eradicated by the corrupt multinational Goliath Corporation, Thursday must bite the bullet and moonlight as a Prose Resource Operative in the secret world of Jurisfiction, the police force inside the books. There she is apprenticed to Miss Havisham, the famous man-hater from Dickens’s Great Expectations, who teaches her to book-jump like a pro. If Thursday retrieves a supposedly vanquished enemy from the pages of Poe’s “The Raven,” she thinks Goliath might return her lost love, Landen. But her latest mission is endlessly complicated. Not only are there side trips into the works of Kafka and Austen, and even Beatrix Potter’s The Tale of Flopsy Bunnies, Thursday finds herself the target of a series of potentially lethal coincidences, the authenticator of a newly discovered play by the Bard himself, and the only one who can prevent an unidentifiable pink sludge from engulfing all life on Earth. Don’t miss any of Jasper Fforde’s delightfully entertaining Thursday Next novels: THE EYRE AFFAIR • LOST IN A GOOD BOOK • THE WELL OF LOST PLOTS • SOMETHING ROTTEN • FIRST AMONG SEQUELS • ONE OF OUR THURSDAYS IS MISSING • THE WOMAN WHO DIED A LOT

Eyewitnessing evaluates the place of images among other kinds of historical evidence. By reviewing the many varieties of images by region, period and medium, and looking at the pragmatic uses of images (e.g. the Bayeux Tapestry, an engraving of a printing press, a reconstruction of a building), Peter Burke sheds light on our assumption that these practical uses are 'reflections' of specific historical meanings and influences. He also shows how this assumption can be problematic. Traditional art historians have depended on two types of analysis when dealing with visual imagery: iconography and iconology. Burke describes and evaluates these approaches, concluding that they are insufficient. Focusing instead on the medium as message and on the social contexts and uses of images, he discusses both religious images and political ones, also looking at images in advertising and as commodities. Ultimately, Burke's purpose is to show how iconographic and post-iconographic methods – psychoanalysis, semiotics, viewer response, deconstruction – are both useful and problematic to contemporary historians.