Topsy’s mother owns an escort business, and she once helped her mom out with her business in exchange for information about who her father is. Topsy then went to Italy, where her father lives, to finally meet him, but she can’t tell him who she is quite yet. Her father is in the company of the handsome Dante, whose impression of Topsy is a negative one. And it only gets worse once he learns that she’s registered as an escort. How can she convince him that her only job as an escort involved nothing more than a simple dinner with a client…?

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Fifteen-year-old Ari Mendoza is an angry loner with a brother in prison, but when he meets Dante and they become friends, Ari starts to ask questions about himself, his parents, and his family that he has never asked before.

Modern Painters is a five-volume work by the eminent Victorian art critic, John Ruskin. The work placed emphasis on symbolism in art, expressed through nature and it was influential on the early development of the Pre-Raphaelite Brotherhood. Ruskin wrote Modern Paintings for 17 years updating it and adding later volumes in subsequent years. The book was primarily written as a defense of the later work of J. M. W. Turner. Ruskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters. He used the book to argue that art should devote itself to the accurate documentation of nature. In Ruskin's view, Turner had developed from early detailed documentation of nature to a later more profound insight into natural forces and atmospheric effects.

The recovery of Dante's metaphysics-which are very different from our own-is essential, argues Christian Moevs, if we are to resolve what has been called 'the central problem in the interpretation of the Comedy.' That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.

Chapters address a wide range of issues confronting adolescents, including depression, substance use, teenage pregnancy, conflict with parents, conduct disorder, and stresses that affect young people; the volume goes on to suggest ways in which these can be most competently dealt with. Contributors: JUDITH G. SMETANA, JACQUELYNNE S. ECCLES, SARAH E. LORD, ROBERT W. ROESER, LAURENCE STEINBERG, JAY BELSKY, ROBERT KEGAN, CATHERINE LORD, PER F. GJERDE, JACK BLOCK, RONALD E. DAHL, NEAL D. RYAN, DAVID A. BRENT, GRACE MORITZ, MARGARET BEALE SPENCER, DAVIDO DUPREE, CYNTHIA T. GARCIA COLL, HEIDO A. VAZQUES GARCIA, DANIEL P. KEATING, DARLA J. MACLEAN

The Description for this book, Dante, Poet of the Desert: History and Allegory in the DIVINE COMEDY, will be forthcoming.