Generally considered the least lively and most bleak of casts, gray is the taint of vagueness and uncertainty. Marking the threshold region where luminous life seems suspended but death has not yet darkened the horizon, it belongs to an evasive and evanescent world, carrying the tint of smoke, fog, ashes, and dust. As the ambiguous space of thought and remembrance where things blend and blur, gray measures the difference between distance and proximity, shading into tinges of hesitation, hues of taciturnity, tones of time past and lost. Thus it may also be the spectral medium of literature itself—that grainy gas of language. Written with a lead pencil akin to those found in Nabokov, Rilke, Svevo, Poe, and Dickinson, The Gray Book chronicles the vicissitudes of such equivocal articulation—registering the graphite traces it leaves behind but also recording the dwindling span of its life. The book situates itself in a region beyond criticism but this side of literature, characterized by forgetting and finitude, and investigating important yet seemingly inaccessible "gray areas" in texts as old as those of Homer, and as recent as those of Beckett. Loosely arranging these literary finds according to a revision of the four elements, The Gray Book distances itself from tradition and treats not water but tears, not fire but vapor, not earth but grain, not air but clouds. The narrative thus construed, proceeding in the meandering movements of volatile thought rather than in the prudent steps of a treatise, appears gradually affected by its subject. Themes and facts previously confined to the realm of quoted texts leak into the narrative itself. The border between fiction and fact slowly dissolves as the book approaches the curious void that the author locates at the heart of "gray literature." Shaped by an omnipresent though increasingly unreliable narrator, The Gray Book may thus ultimately yield a poetics cast in the form of a ghost story.

"The Gray Book" is a poetic journey through the mental health struggles of a young woman. The poems and the photos describe the complexity of the healing process and the different aspects of depression, anxiety, and trauma.

Christian Satanism will offend many, raise a lot of questions, will be rejected and disputed but in the end it is a very well written religion.

'The Grey Book' is the League of the South's philosophy and plan of action for advancing 'the cultural, social, economic, and political well-being and independence of the Southern people by all honourable means.'

Maybe the gray was not where people went to get lost. Maybe it was the perfect place to be reborn. For in that gray was the potential to be anything, to become anyone. Returning to protagonist school had confronted me with a mixed bag of change. Some things were good. I was a star athlete on my Twenty-Three Skidd team, my friends and I were closer than ever, I'd made amends with my traditionalist headmistress, and the surprisingly kind grandson of King Midas was doing his best to win my affection. Other changes, however, were not so sweet. The greater realm now knew about my Pure Magic, and an upcoming trial by the realm higher-ups and Fairy Godmothers would decide my fate. My former princess archenemy was under a sleeping curse, which meant we couldn’t access the vital memories of a dead Fairy Godmother stored in her brain. The commons rebellion in our realm was only growing in strength. And I . . . Well, I'd taken my first life. The antagonist queen's careful planning paired with my hard-to-control powers of life had caused me to snap and kill someone. He'd been a villain, yes, but that didn't placate my morality. Especially given the ongoing internal war I struggled with over my abilities and their potential. As I fought to be a strong hero, princess, and more importantly person, I was flogged by the many questions posed by enemies, friends, and my own conscience about how I was changing—and what I was changing into. Would my magic inevitably corrupt me like the antagonists wanted and our realm's higher-ups feared? My personal fate aside, would my friends and I be able to stop the antagonists from taking over our realm? And finally, was I more afraid of not being powerful enough to stop them, or being even more powerful than anybody anticipated?

Gray's Anatomy is probably one of the most iconic scientific books ever published: an illustrated textbook of anatomy that is still a household name 150 years since its first edition, known for its rigorously scientific text, and masterful illustrations as beautiful as they are detailed. The Making of Mr Gray's Anatomy tells the story of the creation of this remarkable book, and the individuals who made it happen: Henry Gray, the bright and ambitious physiologist, poised for medical fame and fortune, who was the book's author; Carter, the brilliant young illustrator, lacking Gray's social advantages, shy and inclined to religious introspection; and the publishers - Parkers, father and son, the father eager to employ new technology, the son part of a lively circle of intellectuals. It is the story of changing attitudes in the mid-19th century; of the social impact of science, the changing status of medicine; of poverty and class; of craftsmanship and technology. And it all unfolds in the atmospheric milieu of Victorian London - taking the reader from the smart townhouses of Belgravia, to the dissection room of St George's Hospital, and to the workhouses and mortuaries where we meet the friendless poor who would ultimately be immortalised in Carter's engravings. Alongside the story of the making of the book itself, Ruth Richardson reflects on what made Gray's Anatomy such a unique intellectual, artistic, and cultural achievement - how it represented a summation of a long half century's blossoming of anatomical knowledge and exploration, and how it appeared just at the right time to become the 'Doctor's Bible' for generations of medics to follow.