Literary Nonfiction. LGBTQIA Studies. Art. Prose by Oliver Pickle. Art by Ruth West. Foreword by Rima Athar. An intergenerational collaboration featuring 78 papercut images from Ruth West's 1984 Thea's Tarot deck, coupled with author Oliver Pickle's contemporary queer interpretations of each card. Tarot, among other occult practices, is enjoying a resurgence in queer communities, but its practitioners often find themselves revising interpretative texts to fit their realities. By embracing an older deck and simultaneously developing current and re-visioned ways of interpreting its images and the cards' meanings in general, SHE IS SITTING IN THE NIGHT, provides an informed, aesthetically strong, accessible book for feminists, queers, and tarot readers new and old.

There is no bigger issue for healthy infants than sleeping through the night. In this simple, straightforward book, Suzy Giordano presents her amazingly effective “Limited-Crying Solution” that will get any baby to sleep for twelve hours at night—and three hours in the day—by the age of twelve weeks old. Giordano is the mother of five children and one of the most sought-after baby sleep specialists in the country. The Washington Post calls her a baby sleep "guru" and "an underground legend in the Washington area for her ability to teach newborns how to achieve that parenting nirvana: sleeping through the night." Her sleep plan has been tested with singletons, twins, triplets, babies with special needs, and colicky babies—and it has never failed. Whether you are pregnant, first-time parents, or parents who seek a different path with your second or third child, anyone can benefit from the Baby Coach’s popular system of regular feeding times, twelve hours of sleep at night and three hours of sleep during the day, and the peace of mind that comes with taking the parent and child out of a sleep- deprived world.

This memoir of the relationship between a British military historian and a Tawny Owl is “a small masterpiece of animal literature . . . [a] perfect book” (The Wall Street Journal). Mumble was so much a part of my life in those days that the oddity of our relationship seldom occurred to me, and I only thought about it when faced with other people’s astonishment. When new acquaintances learned that they were talking to a book editor who shared a seventh-floor flat in a South London tower block with a Tawny Owl, some tended to edge away, rather thoughtfully . . . I tried to answer patiently, but I found it hard to come up with a short reply to the direct question ‘Yes, but . . . why?’; my best answer was simply ‘Why not?’ Martin Windrow was a war historian with little experience with pets when he adopted an owl the size of a corncob. Adorable but with knife-sharp talons, Mumble became Windrow’s closest, if at times unpredictable, companion, first in a South London flat and later in the more owl-friendly Sussex countryside. In The Owl Who Liked Sitting on Caesar, Windrow recalls with wry humor their finer moments as well as the reactions of incredulous neighbors, the awkwardness of buying Mumble unskinned rabbit at Harrods Food Hall, and the grievous sense of loss when Mumble nearly escapes. Windrow offers a poignant and unforgettable reminiscence of his charmed years with his improbable pet, as well as an unexpected education in the paleontology, zoology, and sociology of owls. “A memoir of his friendship with this singular creature, interwoven with a natural history of her species . . . [It] is all the more affecting because of its gruff understatement.” —The New York Times Book Review “Pure joy. Martin Windrow shows us the essence of a wild animal in a story as informative as a scientific paper on the species Strix aluco, but much more fun to read.” —Elizabeth Marshall Thomas, author of A Million Years with You Includes photographs and illustrations

Life sucks when your friends are pissed at you. Just ask Zoey Redbird – she's become an expert on suckiness. In one week she has gone from having three boyfriends to having none, and from having a close group of friends who trusted and supported her, to being an outcast. Speaking of friends, the only two Zoey has left are undead and unMarked. And Neferet has declared war on humans, which Zoey knows in her heart is wrong. But will anyone listen to her? Zoey's adventures at vampyre finishing school take a wild and dangerous turn as loyalties are tested, shocking true intentions come to light, and an ancient evil is awakened in PC and Kristin Cast's spellbinding fourth House of Night novel. (Recommended for readers age 13 and older)

A memoir-in-essays from disability advocate and creator of the Instagram account @sitting_pretty Rebekah Taussig, processing a lifetime of memories to paint a beautiful, nuanced portrait of a body that looks and moves differently than most. Growing up as a paralyzed girl during the 90s and early 2000s, Rebekah Taussig only saw disability depicted as something monstrous (The Hunchback of Notre Dame), inspirational (Helen Keller), or angelic (Forrest Gump). None of this felt right; and as she got older, she longed for more stories that allowed disability to be complex and ordinary, uncomfortable and fine, painful and fulfilling. Writing about the rhythms and textures of what it means to live in a body that doesn’t fit, Rebekah reflects on everything from the complications of kindness and charity, living both independently and dependently, experiencing intimacy, and how the pervasiveness of ableism in our everyday media directly translates to everyday life. Disability affects all of us, directly or indirectly, at one point or another. By exploring this truth in poignant and lyrical essays, Taussig illustrates the need for more stories and more voices to understand the diversity of humanity. Sitting Pretty challenges us as a society to be patient and vigilant, practical and imaginative, kind and relentless, as we set to work to write an entirely different story.

The public image of judges has been stuck in a time warp; they are invariably depicted in the media - and derided in public bars up and down the country - as 'privately educated Oxbridge types', usually 'out-of-touch', and more often than not as 'old men'. These and other stereotypes - the judge as a pervert, the judge as a right-wing monster - have dogged the judiciary long since any of them ceased to have any basis in fact. Indeed the limited research that was permitted in the 1960s and 1970s tended to reinforce several of these stereotypes. Moreover, occasional high profile incidents in the courts, elaborated with the help of satirists such as 'Private Eye' and 'Monty Python', have ensured that the 'old white Tory judge' caricature not only survives but has come to be viewed as incontestable. Since the late 1980s the judiciary has changed, largely as a result of the introduction of training and new and more transparent methods of recruitment and appointment. But how much has it changed, and what are the courts like after decades of judicial reform? Given unprecedented access to the whole range of courts - from magistrates' courts to the Supreme Court - Penny Darbyshire spent seven years researching the judges, accompanying them in their daily work, listening to their conversations, observing their handling of cases and the people who come before them, and asking them frank and searching questions about their lives, careers and ambitions. What emerges is without doubt the most revealing and compelling picture of the modern judiciary in England and Wales ever seen. From it we learn that not only do the old stereotypes not hold, but that modern 'baby boomer' judges are more representative of the people they serve and that the reforms are working. But this new book also gives an unvarnished glimpse of the modern courtroom which shows a legal system under stress, lacking resources but facing an ever-increasing caseload. This book will be essential reading for anyone wishing to know about the experience of modern judging, the education, training and professional lives of judges, and the current state of the courts and judiciary in England and Wales.

More than any other male movie star, the refined Clifton Webb (1889-1966) caused the moviegoing public to change its image of a leading man. In a day when leading men were supposed to be strong, virile, and brave, Clifton Webb projected an image of flip, acerbic arrogance. He was able to play everything from a decadent columnist (Laura) to a fertile father (Cheaper by the Dozen and The Remarkable Mr. Pennypacker), delivering lines in an urbanely clipped, acidly dry manner with impeccable timing. Long before his film career began, Webb was a child actor and later a suavely effete song-and-dance man in numerous Broadway musicals and revues. The turning point in his career came in 1941 when his good friend Noël Coward cast him in Blithe Spirit. Director Otto Preminger saw Webb's performance and cast him in Laura in 1944. Webb began to write his autobiography, but he said that he eventually had gotten “bogged down” in the process. However, he did complete six chapters and left a hefty collection of notes that he intended to use in the proposed book. His writing is as witty and sophisticated as his onscreen persona. Those six chapters, information and voluminous notes, and personal research by coauthor David L. Smith provide an intimate view of an amazingly talented man's life and times.