Suppose that in an emergency evacuation of a hospital after a flood, not all of the patients can make it out alive. You are the doctor faced with the choice between abandoning these patients to die alone and in pain, or injecting them with a lethal dose of drugs, without consent, so that they die peacefully. Perhaps no one will be able to blame you whatever you decide, but, whichever action you choose, you will remain burdened by guilt. What happens, in cases like this, when, no matter what you do, you are destined for moral failure? What happens when there is no available means of doing the right thing? Human life is filled with such impossible moral decisions. These choices and case studies that demonstrate them form the focus of Lisa Tessman's arresting and provocative work. Many philosophers believe that there are simply no situations in which what you morally ought to do is something that you can't do, because they think that you can't be required to do something unless it's actually in your power to do it. Despite this, real life presents us daily with situations in which we feel that we have failed morally even when no right action would have been possible. Lisa Tessman boldly argues that sometimes we feel this way because we have encountered an 'impossible moral requirement.' Drawing on philosophy, empirical psychology, and evolutionary theory, When Doing the Right Thing Is Impossible explores how and why human beings have constructed moral requirements to be binding even when they are impossible to fulfill.

What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as “lyrics,” the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa. As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors’ introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of “play,” in several senses of that word. The book ends with eight “new Middle English lyrics” by seven contemporary poets.

An indispensable reference for anyone who knows how to read—or wants to fool people into thinking they do—The Funny Thing Is... is sure to make you laugh. Ellen DeGeneres published her first book of comic essays, the #1 bestselling My Point...And I Do Have One, way back in 1996. Not one to rest on her laurels, the witty star of stage and screen has since dedicated her life to writing a hilarious new book. That book is this book. After years of painstaking, round-the-clock research, surviving on a mere twenty minutes of sleep a night, and collaborating with lexicographers, plumbers, and mathematicians, DeGeneres has crafted a work that is both easy to use and very funny. Along with her trademark ramblings, The Funny Thing Is... contains hundreds of succinct insights into her psyche and offers innovative features including: -More than 50,000 simple, short words arranged in sentences that form paragraphs. -Thousands of observations on everyday life—from terrible fashion trends to how to handle seating arrangements for a Sunday brunch with Paula Abdul, Diane Sawyer, and Eminem. -All twenty-six letters of the alphabet.

There are three kinds of people in the world . . . One, there are people who make the world worse. Two, there are people who make the world better. Three, there are people who look on the world and imagine that they can avoid the strife of the battle between good and evil. The Way to Do a Thing Is to Do It: Essays reminds us that if we act with the intention of making the world better, we will learn as we do. Even if mistakes are mixed in, in our acting. The devil is in the details, of course. . . .

Dorothy Wright Nelson was a prominent federal judge on the level just below the U.S. Supreme Court for over 40 years. One of the early tenured female law professors and one of the rare female deans in the U.S. legal academy in the 1960s and '70s, her expertise was in reforming courts to make them more just and accessible for all people. When she became a federal judge in 1980, she helped to make the federal courts more efficient and provide litigants with alternatives - including mediation and arbitration - to resolve cases without greater expense and delay. An ardent believer in more peaceful resolution of conflicts, Judge Nelson educated judges around the world on conflict resolution and the rule of law, often while engaging quietly in human rights advocacy for persecuted Bahá'ís around the globe. Her Bahá'í faith also inspired her judicial opinions providing more equality and due process for the marginalized, including the poor, racial minorities, immigrants, mentally ill and the powerless. Dorothy and her husband, a state court judge, balanced their professional achievements with their personal commitments in a manner unusual for their time. They devoted considerable energy to raising their two children, spending time with their extended family, and engaging in Bahá'í activities (including world travel, youth camps, weekly Sunday School and firesides in their home). This book captures the life story of an extraordinary female leader and trailblazer in a highly traditional, male-dominated profession, unafraid to challenge the status quo in her pleasant, optimistic, determined and collegial manner.

Sara Hagerty masterfully draws from her own story of spiritual and physical barrenness to birth in readers a new longing for God. With exquisite storytelling and reflection, Hagerty guides readers to a tender place that God is holding just for them—a place where he shapes the bitterness of lost expectations into deep, new places of knowing Him. In the age of fingertip access to answers and a limitless supply of ambitions, where do we find the God who was birthed in dirt and straw? Sara Hagerty found him when life stopped working for her. She found him when she was a young adult mired in spiritual busyness and when she was a new bride with doubts about whether her fledgling marriage would survive. She found him alone in the night as she cradled her longing for babies who did not come. She found him as she kissed the faces of children on another continent who had lived years without a mommy’s touch. In Every Bitter Thing Is Sweet, Hagerty masterfully draws from the narrative of her life to craft a mosaic of a God who leans into broken stories. Here readers see a God who is present in every changing circumstance. Most significantly, they see a God who is present in every unchanging circumstance as well Whatever lost expectations readers are facing—in family, career, singleness, or marriage—Every Bitter Thing Is Sweet will bring them closer to a God who longs for them to know him more. What does it look like to know God’s nearness when life breaks? What does it mean to receive his life when earthly life remains barren? How can God turn the bitterness of unmet desire into new flavors of joy? With exquisite storytelling and reflection, Hagerty brings readers back to hope, back to healing, back to a place that God is holding for them alone—a place where the unseen is more real than what the eye can perceive. A place where every bitter thing is sweet.