"A teen obsessed with 19th century literature tries to cull advice on life and love from her favorite classic heroines to disastrous results--especially when she falls for the school's resident lothario"--

"For twenty-eight years, Pamela Paul has been keeping a diary that records the books she reads, rather than the life she leads. Or does it? Over time, it's become clear that this Book of Books, or Bob, as she calls him, tells a much bigger story. For Paul, as for many readers, books reflect her inner life--her fantasies and hopes, her dreams and ideas. And her life, in turn, influences which books she chooses, whether for solace or escape, diversion or self-reflection, information or entertainment. My Life with Bob isn't about what's in those books; it's about the relationship between books and readers"--

The book as object, as content, as idea, as interface. What is the book in a digital age? Is it a physical object containing pages encased in covers? Is it a portable device that gives us access to entire libraries? The codex, the book as bound paper sheets, emerged around 150 CE. It was preceded by clay tablets and papyrus scrolls. Are those books? In this volume in the MIT Press Essential Knowledge series, Amaranth Borsuk considers the history of the book, the future of the book, and the idea of the book. Tracing the interrelationship of form and content in the book's development, she bridges book history, book arts, and electronic literature to expand our definition of an object we thought we knew intimately. Contrary to the many reports of its death (which has been blamed at various times on newspapers, television, and e-readers), the book is alive. Despite nostalgic paeans to the codex and its printed pages, Borsuk reminds us, the term “book” commonly refers to both medium and content. And the medium has proved to be malleable. Rather than pinning our notion of the book to a single form, Borsuk argues, we should remember its long history of transformation. Considering the book as object, content, idea, and interface, she shows that the physical form of the book has always been the site of experimentation and play. Rather than creating a false dichotomy between print and digital media, we should appreciate their continuities.

An indispensable volume that shows how to succeed in business by using the Bible and its lessons as a source of inspiration and guidance n 1990, David L. Steward founded his company, Worldwide Technology, Inc., on a shoestring budget and borrowed money, well aware of the high-risk nature of the venture he was undertaking. Despite the fact that he was a novice entrepreneur, he was certain he would succeed. Steward believed intensely that God wouldn't let him down. Doing Business by the Good Book shares the inspiring lessons culled straight from the Bible, that Steward used to build his privately held billion-dollar company into a global information technology enterprise.

John Banville’s stunning powers of mimicry are brilliantly on display in this engrossing novel, the darkly compelling confession of an improbable murderer. Freddie Montgomery is a highly cultured man, a husband and father living the life of a dissolute exile on a Mediterranean island. When a debt comes due and his wife and child are held as collateral, he returns to Ireland to secure funds. That pursuit leads to murder. And here is his attempt to present evidence, not of his innocence, but of his life, of the events that lead to the murder he committed because he could. Like a hero out of Nabokov or Camus, Montgomery is a chillingly articulate, self-aware, and amoral being, whose humanity is painfully on display.

"I devoured this."—V. E. Schwab, New York Times bestselling author of The Invisible Life of Addie La Rue An International Bestseller An NPR Best Sci Fi, Fantasy, & Speculative Fiction Book of 2022 A Book Riot Best Book of 2022 A Vulture Best Fantasy Novel of 2022 A Goodreads Best Fantasy Choice Award Nominee A Library Journal Best Book of 2022 Out on the Yorkshire Moors lives a secret line of people for whom books are food, and who retain all of a book's content after eating it. To them, spy novels are a peppery snack; romance novels are sweet and delicious. Eating a map can help them remember destinations, and children, when they misbehave, are forced to eat dry, musty pages from dictionaries. Devon is part of The Family, an old and reclusive clan of book eaters. Her brothers grow up feasting on stories of valor and adventure, and Devon—like all other book eater women—is raised on a carefully curated diet of fairy tales and cautionary stories. But real life doesn't always come with happy endings, as Devon learns when her son is born with a rare and darker kind of hunger—not for books, but for human minds. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Victims of the Book uncovers a long-neglected but once widespread subgenre: the fin-de-si?cle novel of formation in France. Novels about and geared toward adolescent male readers were imbued with a deep worry over young Frenchmen's masculinity, as evidenced by titles like Crise de jeunesse (Youth in Crisis, 1897), La Crise virile (Crisis of Virility, 1898), La Vie st?rile (A Sterile Life, 1892), and La Mortelle Impuissance (Deadly Impotence, 1903). In this book, Fran?ois Proulx examines a wide panorama of these novels, many of which have rarely been studied, as well as polemical essays, pedagogical articles, and medical treatises on the perceived threats posed by young Frenchmen's reading habits. Against this cultural backdrop, he illuminates all that was at stake in representations of the male reader by prominent novelists of the period, including Jules Vall?s, Paul Bourget, Maurice Barr?s, Andr? Gide, and Marcel Proust. In the final decades of the nineteenth century, social commentators insistently characterized excessive reading as an emasculating illness that afflicted French youth. Fin-de-si?cle writers responded to this pathologization of reading with a profusion of novels addressed to young male readers, paradoxically proposing their own novels as potential cures. In the early twentieth century, this corpus was critically revisited by a new generation of writers. Victims of the Book shows how Gide and Proust in particular reworked the fin-de-si?cle paradox to subvert cultural norms about literature and masculinity, proposing instead a queer pact between writer and reader.