Susan is the new girl-she's sharp and driven, and strives to meet her parents' expectations of excellence. Malcolm is the bad boy-he started raising hell at age fifteen, after his mom died of cancer, and has had a reputation ever since. Susan's parents are on the verge of divorce. Malcolm's dad is a known adulterer. Susan hasn't told anyone, but she wants to be an artist. Malcolm doesn't know what he wants-until he meets her. Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are the picture of being true to oneself.

Showing how the aesthetic delights of thought, analysis, research, and discovery are leading components of the scientific mind and process, he examines everything from snowflakes to the overall makeup of the space-time continuum. He explores these concepts and others including the golden mean, evolution, symmetry in nature, as well as imaginary numbers and irrationality as proof of beauty in science. He presents truth as a state of beauty - and beauty as the embodiment of truth. This book will appeal to lay people and scientists alike.

As the partition of India nears in 1947, bringing violence even to Jalandhar, Tariq, a Muslim, finds himself caught between his forbidden interest in Anupreet, a Sikh girl, and Margaret, a British girl whose affection for him might help with his dream of studying at Oxford.

In this passionate and searching book, Anthony Kronman offers a third way—beyond atheism and religion—to the God of the modern world We live in an age of disenchantment. The number of self-professed “atheists” continues to grow. Yet many still feel an intense spiritual longing for a connection to what Aristotle called the “eternal and divine.” For those who do, but demand a God that is compatible with their modern ideals, a new theology is required. This is what Anthony Kronman offers here, in a book that leads its readers away from the inscrutable Creator of the Abrahamic religions toward a God whose inexhaustible and everlasting presence is that of the world itself. Kronman defends an ancient conception of God, deepened and transformed by Christian belief—the born-again paganism on which modern science, art, and politics all vitally depend. Brilliantly surveying centuries of Western thought—from Plato to Augustine, Aquinas, and Kant, from Spinoza to Nietzsche, Darwin, and Freud—Kronman recovers and reclaims the God we need today.

The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more!

Political scientists are quite good at predicting 'optimal' policy positions that - under the given circumstances - allow parties to get maximal payoffs in terms of policy, office or votes. What we do not know is whether parties are actually able to take these positions or whether they are constrained to do so. This book attempts to narrow this gap. The major argument is that parties do not choose policy positions from scratch and that they cannot freely change their policy platforms. Rather, voters' lacking perception of changing party platforms and intra-party factors constrain parties when shifting their policy positions. An empirical analysis of party policy shifts in ten Western European democracies shows that these constraints differ across parties and thus affect the parties' position-taking differently. Considering this variation is important to derive more precise predictions for parties' policy platforms and for our understanding of party behaviour in general.

Susan is the new girl—she’s sharp and driven, and strives to meet her parents’ expectations of excellence. Malcolm is the bad boy—he started raising hell at age fifteen, after his mom died of cancer, and has had a reputation ever since. Susan’s parents are on the verge of divorce. Malcolm’s dad is a known adulterer. Susan hasn’t told anyone, but she wants to be an artist. Malcolm doesn’t know what he wants—until he meets her. Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are testaments to family, culture, and being true to who you are.