Bataille’s first novel, published under the pseudonym ‘Lord Auch’, is still his most notorious work. In this explicit pornographic fantasy, the young male narrator and his lovers Simone and Marcelle embark on a sexual quest involving sadism, torture, orgies, madness and defilement, culminating in a final act of transgression. Shocking and sacreligious, Story of the Eye is the fullest expression of Bataille’s obsession with the closeness of sex, violence and death. Yet it is also hallucinogenic in its power, and is one of the erotic classics of the twentieth century.

Our eyes see flies. Our eyes see ants. Sometimes they see pink underpants. Oh, say can you see? Dr. Seuss’s hilarious ode to eyes gives little ones a whole new appreciation for all the wonderful things to be seen!

A NEW YORK TIMES NOTABLE BOOK • The dramatic story of the Flint water crisis, by a relentless physician who stood up to power. “Stirring . . . [a] blueprint for all those who believe . . . that ‘the world . . . should be full of people raising their voices.’”—The New York Times “Revealing, with the gripping intrigue of a Grisham thriller.” —O: The Oprah Magazine Here is the inspiring story of how Dr. Mona Hanna-Attisha, alongside a team of researchers, parents, friends, and community leaders, discovered that the children of Flint, Michigan, were being exposed to lead in their tap water—and then battled her own government and a brutal backlash to expose that truth to the world. Paced like a scientific thriller, What the Eyes Don’t See reveals how misguided austerity policies, broken democracy, and callous bureaucratic indifference placed an entire city at risk. And at the center of the story is Dr. Mona herself—an immigrant, doctor, scientist, and mother whose family’s activist roots inspired her pursuit of justice. What the Eyes Don’t See is a riveting account of a shameful disaster that became a tale of hope, the story of a city on the ropes that came together to fight for justice, self-determination, and the right to build a better world for their—and all of our—children. Praise for What the Eyes Don’t See “It is one thing to point out a problem. It is another thing altogether to step up and work to fix it. Mona Hanna-Attisha is a true American hero.”—Erin Brockovich “A clarion call to live a life of purpose.”—The Washington Post “Gripping . . . entertaining . . . Her book has power precisely because she takes the events she recounts so personally. . . . Moral outrage present on every page.”—The New York Times Book Review “Personal and emotional. . . She vividly describes the effects of lead poisoning on her young patients. . . . She is at her best when recounting the detective work she undertook after a tip-off about lead levels from a friend. . . . ‛Flint will not be defined by this crisis,’ vows Ms. Hanna-Attisha.”—The Economist “Flint is a public health disaster. But it was Dr. Mona, this caring, tough pediatrican turned detective, who cracked the case.”—Rachel Maddow

Magisterial, revelatory, and-most suitably-entertaining, What the Eye Hears offers an authoritative account of the great American art of tap dancing. Brian Seibert, a dance critic for The New York Times, begins by exploring tap's origins as a hybrid of the jig and clog dancing from the British Isles and dances brought from Africa by slaves. He tracks tap's transfer to the stage through blackface minstrelsy and charts its growth as a cousin to jazz in the vaudeville circuits and nightclubs of the early twentieth century. Seibert chronicles tap's spread to ubiquity on Broadway and in Hollywood, analyzes its decline after World War II, and celebrates its rediscovery and reinvention by new generations of American and international performers. In the process, we discover how the history of tap dancing is central to any meaningful account of American popular culture. This is a story with a huge cast of characters, from Master Juba (it was probably a performance of his in a Five Points cellar that Charles Dickens described in American Notes for General Circulation) through Bill Robinson and Shirley Temple, Fred Astaire and Ginger Rogers, and Gene Kelly and Paul Draper to Gregory Hines and Savion Glover. Seibert traces the stylistic development of tap through individual practitioners, vividly depicting dancers both well remembered and now obscure. And he illuminates the cultural exchange between blacks and whites over centuries, the interplay of imitation and theft, as well as the moving story of African-Americans in show business, wielding enormous influence as they grapple with the pain and pride of a complicated legacy.What the Eye Hears teaches us to see and hear the entire history of tap in its every step.

As a girl coming of age during the era of civil rights, Patricia Bath made it her mission to become a doctor. When obstacles like racism, poverty, and sexism threatened this goal, she persevered--brightening the world with a game-changing treatment for blindness. Illustrations.x 10.

Deaf people in New Zealand are often little known outside their own culture. People of the Eye brings their world to life in personal histories translated into English with a series of photographs of the deaf community. The storytellers are both old and young, and they reflect both the diversity and commonality of deaf experience; the painful lives of a generation brought up forbidden to use sign language contrasted with the confidence of young people using New Zealand Sign Language as they attend school and assert "deaf pride." The differences between children growing up in deaf families and those who struggle with identity as deaf children in hearing families are illuminating. These are stories of joy and sadness, confusion and resolution, and regret and optimism.

Eyes were one of the very first body parts to evolve more than 500 million years ago, and their structure has remained virtually unchanged through most of evolutionary history. But eyes alone were never enough for Homo sapiens. From the mastery of fire a million years ago to the smartphone today, humans have repeatedly invented new ways to see their surroundings, each other and themselves. Artificial light, art, mirrors, writing, lenses, printing, photography, film, television, smartphones – these tools didn't just add to our visual repertoire, they shaped cultures around the world and made us who we are. Drawing on sources from anthropology to zoology, neuroscience to Netflix, As Far As the Eye Can See traces the history of seeing from the first evolutionary stirrings of sight and discovers that each time we changed how or what we see, we changed ourselves and the world around us. Along the way, it finds, sight slowly eclipsed our other senses. Are we now at 'peak seeing', the author asks. Can our eyes keep up with technology? Have we gone as far as the eye can see?