Personal genome testing, gene editing for life-threatening diseases, synthetic life: once the stuff of science fiction, twentieth- and twenty-first-century advancements blur the lines between scientific narrative and scientific fact. This examination of bioengineering in popular and literary culture shows that the influence of science on science fiction is more reciprocal than we might expect. Looking closely at the work of Margaret Atwood, Richard Powers, and other authors, as well as at film, comics, and serial television such as Orphan Black, Everett Hamner shows how the genome age is transforming both the most commercial and the most sophisticated stories we tell about the core of human personhood. As sublime technologies garner public awareness beyond the genre fiction shelves, they inspire new literary categories like “slipstream” and shape new definitions of the human, the animal, the natural, and the artificial. In turn, what we learn of bioengineering via popular and literary culture prepares the way for its official adoption or restriction—and for additional representations. By imagining the connections between emergent gene testing and editing capacities and long-standing conversations about freedom and determinism, these stories help build a cultural zeitgeist with a sharper, more balanced vision of predisposed agency. A compelling exploration of the interrelationships among science, popular culture, and self, Editing the Soul sheds vital light on what the genome age means to us, and what’s to come.

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years). Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood. There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers. The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.

God wants YOU to become a hero of the Faith. He wants all of us to share the truth and beauty we've found in the Catholic Church, no matter who we are or where we come from. In One Moment Can Change a Soul: Helping Catholics Come Home, you'll find encouragement and inspiration to say "yes" to God's call. Tom Peterson shows how God gives each one of us the grace we need to share the Faith and show countless people the way home to Jesus and his Church. "The mission of Tom Peterson and Catholics Come Home to bring souls home to Jesus and the church is critically important during this challenging time in our history. I fully support this New Evangelization project." - Pastor Rick Warren, author of The Purpose Driven Life "Tom inspires each of us to share God's love with others in order to help change the world for the better, for eternity." - Roma Downey, Touched by an Angel star and co-producer of The Bible TV series. ABOUT THE AUTHOR After twenty-five years as an award-winning corporate advertising executive, Tom Peterson experienced a radical spiritual conversion while on a Catholic retreat. Soon afterward, he founded three media apostolates: VirtueMedia.org (pro-life), CatholicsComeHome.org (new evangelization), and AmenAlleluia.org. Catholics Come Home, the first faith group ever to air on national networks like CBS, NBC, and ESPN has reached over 300 million viewers and helped more than a half-million souls home to the Catholic Church. Tom hosts the popular prime-time EWTN television series Catholics Come Home, has presented internationally at over five hundred Catholic conferences, has had numerous appearances on national media venues, and has authored five popular books. He has been a member of Legatus International for eighteen years and served as vice-chairman. Tom lives in Atlanta with his wife of thirty-four years, and has three daughters, and six grandchildren.

Essays from twenty-seven leading book editors: “Honest and unflinching accounts from publishing insiders . . . a valuable primer on the field.” —Publishers Weekly Editing is an invisible art in which the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. What Editors Do gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to approach the work of editing. Serving as a compendium of professional advice and a portrait of what goes on behind the scenes, this book sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing—and shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever. “Authoritative, entertaining, and informative.” —Copyediting

As both an art form and a universal language, the photograph has an extraordinary ability to connect and communicate with others. But with over one trillion photos taken each year, why do so few of them truly connect? Why do so few of them grab our emotions or our imaginations? It is not because the images lack focus or proper exposure; with advances in technology, the camera does that so well these days. Photographer David duChemin believes the majority of our images fall short because they lack soul. And without soul, the images have no ability to resonate with others. They simply cannot connect with the viewer, or even—if we’re being truthful—with ourselves.

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In The Soul of the Camera: The Photographer’s Place in Picture-Making, David explores what it means to make better photographs. Illustrated with a collection of beautiful black-and-white images, the book’s essays address topics such as craft, mastery, vision, audience, discipline, story, and authenticity. The Soul of the Camera is a personal and deeply pragmatic book that quietly yet forcefully challenges the idea that our cameras, lenses, and settings are anything more than dumb and mute tools. It is the photographer, not the camera, that can and must learn to make better photographs—photographs that convey our vision, connect with others, and, at their core, contain our humanity. The Soul of the Camera helps us do that.

Few terms have garnered more attention recently in the sciences, humanities, and public sphere than the Anthropocene, the proposed epoch in which a human “signature” appears in the lithostratigraphic record. Anthropocene Reading considers the implications of this concept for literary history and critical method. Entering into conversation with geologists and geographers, this volume reinterprets the cultural past in relation to the anthropogenic transformation of the Earth system while showcasing how literary analysis may help us conceptualize this geohistorical event. The contributors examine how a range of literary texts, from The Tempest to contemporary dystopian novels to the poetry of Emily Dickinson, mediate the convergence of the social institutions, energy regimes, and planetary systems that support the reproduction of life. They explore the long-standing dialogue between imaginative literature and the earth sciences and show how scientists, novelists, and poets represent intersections of geological and human timescales, the deep past and a posthuman future, political exigency and the carbon cycle. Accessibly written and representing a range of methodological perspectives, the essays in this volume consider what it means to read literary history in the Anthropocene. Contributors include Juliana Chow, Jeffrey Jerome Cohen, Thomas H. Ford, Anne-Lise François, Noah Heringman, Matt Hooley, Stephanie LeMenager, Dana Luciano, Steve Mentz, Benjamin Morgan, Justin Neuman, Jennifer Wenzel, and Derek Woods.

Charles Dickens in Cyberspace opens a window on a startling set of literary and scientific links between contemporary American culture and the nineteenth-century heritage it often repudiates. Surveying a wide range of novelists, scientists, filmmakers, and theorists from the past two centuries, Jay Clayton traces the concealed circuits that connect the telegraph with the Internet, Charles Babbage's Difference Engine with the digital computer, Frankenstein's monster with cyborgs and clones, and Dickens' life and fiction with all manner of contemporary popular culture--from comic books and advertising to recent novels and films. In the process, Clayton argues for two important principles: that postmodernism has a hidden or repressed connection with the nineteenth-century and that revealing those connections can aid in the development of a historical cultural studies. In Charles Dickens in Cyberspace nineteenth-century figures--Jane Austen, Charles Darwin, Charles Dickens, Thomas Hardy, Henry James, Ada Lovelace, Joseph Paxton, Mary Shelley, and Mary Somerville--meet a lively group of counterparts from today: Andrea Barrett, Greg Bear, Peter Carey, Hélène Cixous, Alfonso Cuarón, William Gibson, Donna Haraway, David Lean, Richard Powers, Salman Rushdie, Ridley Scott, Susan Sontag, Neal Stephenson, Bruce Sterling, and Tom Stoppard. The juxtaposition of such a diverse cast of characters leads to a new way of understanding the "undisciplined culture" the two eras share, an understanding that can suggest ways to heal the gap that has long separated literature from science. Combining storytelling and scholarship, this engaging study demonstrates in its own practice the value of a self-reflective stance toward cultural history. Its personal voice, narrative strategies, multiple points of view, recursive loops, and irony emphasize the improvisational nature of the methods it employs. Yet its argument is serious and urgent: that the afterlife of the nineteenth century continues to shape the present in diverse and sometimes conflicting ways.