Written in 1890, at the close of William Morris’s most intense period of political activism, News from Nowhere is a compelling articulation of his mature views on art, work, community, family, and the nature and structure of the ideal society. A utopian narrative of a future society, it is also an immensely entertaining novel. This Broadview edition includes a wide variety of contextualizing documents, including portions of Morris’s essays, lectures, and journalism; excerpts from precursor utopian texts; writings on Bloody Sunday, art, work, and revolution; and contemporary reviews.

In his landmark book The Geography of Nowhere James Howard Kunstler visited the "tragic sprawlscape of cartoon architecture, junked cities, and ravaged countryside" America had become and declared that the deteriorating environment was not merely a symptom of a troubled culture, but one of the primary causes of our discontent. In Home from Nowhere Kunstler not only shows that the original American Dream -- the desire for peaceful, pleasant places in which to work and live -- still has a strong hold on our imaginations, but also offers innovative, eminently practical ways to make that dream a reality. Citing examples from around the country, he calls for the restoration of traditional architecture, the introduction of enduring design principles in urban planning, and the development of public spaces that acknowledge our need to interact comfortable with one another.

Managers assure those of us who try to write plays nowadays that we must lay our scenes in well-to-do circles if we wish to attract an audience. The scene before us now has few recommendations, either as a romantic or a tragic background. It is not quite wretched enough to suggest dark deeds; it is not nearly old enough to convey a hint of mystery: it is merely the back parlor of a London lodging-house of the meaner kind. On a certain murky day in March it lay bare to the eye of anyone who was desirous of exploring. The street of which it formed a narrow section was small and dreary. The front parlor window of this particular house was discreetly veiled with curtains which had once been white. Between them stood an artificial aspidistra in a ginger-colored pot, envied by some of the other dwellers in the immediate neighborhood. This front parlor, at the date in question, was unlet. It had folding-doors, affording the sole entrance to a very small room behind, generally let as a bedroom, with the front room as sitting-room. For the past month this back parlor had been tenanted by one who was far too poor to think of needing more than one room in which to starve. Moreover, he was there on the understanding that he would vacate should a better let offer itself. Had the curtain risen on that back room, the eye would have taken but one glance to feel assured of destitution on the part of the absent occupier. There was a bed, a washstand, a table, a chair. There was a cupboard, the door hanging open on one hinge, revealing the fact that an empty mug formed its sole contents. There was no carpet on the floor, no cloth on the rickety table—the only trace of occupancy was in a penny bottle of ink and a few sheets of paper which lay upon the table. The smoke-dimmed window looked sheer down upon a mazy labyrinth of railway lines. Day by day trains rumbled by, and sent up each its contribution of soot and grime to choke the atmosphere and darken the unlovely prospect. This window—it was more correctly a glass door—was open; and without was a mean iron railing, with a flight of corroded steps, which, at the time the house was built, probably led to the garden. The encroaching line had shorn away all the garden, leaving the iron steps overhanging the abyss with a futility that moved to pity the soul of the present occupier when he had a thought to spare from the anguish of his own condition. So much for the stage. The actor, when at last he made his abrupt appearance, bursting in, as an actor should, dramatically, through the center doors—seemed to have been cast by Nature for a leading part.

"You don't know me, but I'm having your baby." Dominic Pirelli's carefully ordered world falls apart when a female stranger phones with staggering news: an IVF clinic mix-up means she is carrying the baby that he and his late wife dreamed of having Though he distrusts her motives, Dominic is determined to keep waiflike Angelina Cameron close. Taking her to his luxury home, the hardened tycoon reluctantly begins to admire Angie's strength and gentle beauty as her body swells with the precious life inside her. But when their baby is born, who will have custody of the Pirelli heir?

In the dark overlap between music and industry, there dwells a group of people whose lives and dealings are every bit as commonplace and fantastic, as high-flung and ridiculous, as noble and sordid as the stories they inspire. Don, Ross, and Chavez comprise Seventeen; Neil, Mika, Darcy, and Darren make up Limna. One is a hard-working club band committed to a music-first agenda and convinced by wily manager Deedee Vanian that this is indeed the road they're on. The other is an unapologetically commercial construct, pieced together and driven into the market by professional hitmakers and by manager Annika Guttkuhn, herself a "discovery" and protegee of Deedee's. Competing for the same recording contract, the two acts are combined on a single bill and booked for a string of appearances from New England to Florida. But who has orchestrated the ill-fated trip, and why? How far can Annika push her act, armed with nothing but an imaginary following and her trumped-up press releases? And why should Don fro Seventeen be her chief coconspirator? Songs from Nowhere Near the Heart presents an unforgettable and richly textured cast of characters, each trying to outwit and outflank the others, for reasons and with results that won't become entirely clear before a final, hilarious sequence of events in rural Florida.

Get the Summary of Warren Zanes's Deliver Me from Nowhere in 20 minutes. Please note: This is a summary & not the original book. "Deliver Me from Nowhere" delves into the creation and impact of Bruce Springsteen's album "Nebraska," a work born from personal strife and technological transition. The album, described by Springsteen as an "accident," captured a rawness that contrasted with the digital perfection of the era. Insights from Springsteen's manager Jon Landau and producer Chuck Plotkin, along with Springsteen's own reflections, reveal the unconventional creation of "Nebraska," which marked a departure from music industry norms...