I Write, Therefore I Am is Alexis' debut collection of poetry. It is a mini collection of poems written over the course of many years. She has written and selected these poems to represent her coming-of-age journey that captures her experience with heartbreak, love, and self-growth. These poems are a time capsule of who she used to be and the reason she's the woman she is today.

I Think, Therefore I Am is the ideal way to take the fear out of philosophy. Written in an accessible and entertaining style,I Think, Therefore I Am explains how and why philosophy began, and how the ways in which we live, learn, argue, vote and even spend our money have their origins in philosophical thought.

The Animal That Therefore I Am is the long-awaited translation of the complete text of Jacques Derrida's ten-hour address to the 1997 Cérisy conference entitled "The Autobiographical Animal," the third of four such colloquia on his work. The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session. The book is at once an affectionate look back over the multiple roles played by animals in Derrida's work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction--dating from Descartes--between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single "the animal." Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them. The book's autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida's experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of "man's dominion over the beasts" and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of "life" to which he returned in much of his later work.

This is Suresh Subrahmanyan's second volume of reminiscences and reflections. There is no subject under the sun that does not come under his genial and satirical gaze. Nostalgia and current affairs are dealt with in a serenely personal and free-flowing style, displaying a deep and abiding love for the English language. For the reader, there is something to dip into and find relevant, even at a random flipping-through of the pages. This is a book to be kept by your bedside and referred to whenever you're feeling low. Your spirits will surely rise. Comments on the author's first book of essays, 'A brush with Mr. Naipaul (and other pieces).' Make no mistake, 'A brush with Mr. Naipaul' is not just meant for laughs; it also nudges the reader to introspect on the issues assailing the polity. The Telegraph This enviable collection by Suresh Subrahmanyan, is an authentic reflection of its times, to be also relished as a mosaic of his Freudian anti-repressing liberation! Deccan Chronicle Charming, delightful; also a wry, dry wit and a fair bit of leg-pulling. Squeamish, scatological and porn-ish subjects have been tackled not frontally but forthrightly enough, in delicate, elliptical prose. The range of interests is wide. To write on all these pointedly but lightly is an art indeed. Wodehouse has been internalised and used deftly to capture a very Indian ethos. I doubt if anyone writes like this. Kamala Ganesh Sociologist and Author

Beginning in the early years of this century, Number 11 follows two friends, Alison and Rachel, as they come of age. As the narrative progresses from the aftermath of the Iraq War to the present day, its scope broadens to include others who are variously connected to these two girls: Alison’s mother, a has-been singer, competes on a grisly reality TV show; Rachel’s university mentor finally confronts her late husband’s obsessive search for a German film he saw as a child; a young police constable investigates the seemingly unrelated deaths of two stand-up comedians; and a giant spider lurks in the darkness beneath one of London’s most staggeringly expensive neighborhoods. Combining his signature humor, psychological insight and social commentary, Jonathan Coe holds up a disquieting, unforgiving mirror in which to reflect a world where the systems are broken and everyone can—and perhaps must—name his or her own price.

You have a great pleasure waiting for you in this collection of essays, stories and reminiscences. The author has wide-ranging interests from such things as social issues and religion to the solar system and the psychology of the dreaming mind. His ideas will surprise and delight you and you will be intrigued by the unexpected slant he gives to old controversies as he searches for new answers. Humor is never far away. If he does fall into preaching in his discussions of economics and land use it is because he believes that a lack of attention to the forces at work are leading us toward disaster. In another mood which he labels Irish sentiment he tugs at our heart strings with his account of a simple thing like the death of a pet guinea pig. The selections are seldom longer than a few pages but the impact of each is to leave you with a satisfied feeling and the realization that you have something new to think about.

This is second volume of reminiscences and reflections. There is no subject under the sun that does not come under his genial, ironic and satirical gaze. Nostalgia and current affairs are dealt with in a serenely personal and free-flowing style, displaying a deep and abiding love for the English language. For the reader, there is something to dip into and find relevant, even at a random flipping-through of the pages. This is a book to be kept by your bedside and referred to whenever you’re feeling low. Your spirits will surely rise.