For fans of PostSecret, Humans of New York, and If You Feel Too Much, this collection from suicide-awareness organization Project Semicolon features stories and photos from those struggling with mental illness. Project Semicolon began in 2013 to spread a message of hope: No one struggling with a mental illness is alone; you, too, can survive and live a life filled with joy and love. In support of the project and its message, thousands of people all over the world have gotten semicolon tattoos and shared photos of them, often alongside stories of hardship, growth, and rebirth. Project Semicolon: Your Story Isn't Over reveals dozens of new portraits and stories from people of all ages talking about what they have endured and what they want for their futures. This represents a new step in the movement and a new awareness around those who struggle with mental illness and those who support them. At once heartfelt, unflinchingly honest, and eternally hopeful, this collection tells a story of choice: every day you choose to live and let your story continue on. Learn more about the project at www.projectsemicolon.com.

“Delightful.” —Mary Norris, The New Yorker A page-turning, existential romp through the life and times of the world’s most polarizing punctuation mark The semicolon. Stephen King, Hemingway, Vonnegut, and Orwell detest it. Herman Melville, Henry James, and Rebecca Solnit love it. But why? When is it effective? Have we been misusing it? Should we even care? In Semicolon, Cecelia Watson charts the rise and fall of this infamous punctuation mark, which for years was the trendiest one in the world of letters. But in the nineteenth century, as grammar books became all the rage, the rules of how we use language became both stricter and more confusing, with the semicolon a prime victim. Taking us on a breezy journey through a range of examples—from Milton’s manuscripts to Martin Luther King Jr.’s “Letters from Birmingham Jail” to Raymond Chandler’s The Big Sleep—Watson reveals how traditional grammar rules make us less successful at communicating with each other than we’d think. Even the most die-hard grammar fanatics would be better served by tossing the rule books and learning a better way to engage with language. Through her rollicking biography of the semicolon, Watson writes a guide to grammar that explains why we don’t need guides at all, and refocuses our attention on the deepest, most primary value of language: true communication.

Punctuation offers playful interpretations of punctuation in relation to aesthetics, performance, and experimental art.

New York Times Bestseller Named a Best Book of the Year by NPR, Wall Street Journal, Publishers Weekly, Kirkus Reviews, and Library Journal "Hilarious…This book charmed my socks off." —Patricia O’Conner, New York Times Book Review Mary Norris has spent more than three decades working in The New Yorker’s renowned copy department, helping to maintain its celebrated high standards. In Between You & Me, she brings her vast experience with grammar and usage, her good cheer and irreverence, and her finely sharpened pencils to help the rest of us in a boisterous language book as full of life as it is of practical advice.

The Model Rules of Professional Conduct provides an up-to-date resource for information on legal ethics. Federal, state and local courts in all jurisdictions look to the Rules for guidance in solving lawyer malpractice cases, disciplinary actions, disqualification issues, sanctions questions and much more. In this volume, black-letter Rules of Professional Conduct are followed by numbered Comments that explain each Rule's purpose and provide suggestions for its practical application. The Rules will help you identify proper conduct in a variety of given situations, review those instances where discretionary action is possible, and define the nature of the relationship between you and your clients, colleagues and the courts.

In The Problem Body, editors Sally Chivers and Nicole Markotic bring together the work of eleven of the best disability scholars from the U.S., the U.K., Canada, and South Korea to explore a new approach to the study of film by concentrating on cinematic representations of what they term "the problem body." The book is a much-needed exploration of the projection of disability on film combined with a much-needed rethinking of hierarchies of difference. The editors turned to the existing corpus of disability theory with its impressive insights about the social and cultural mediation of disabled bodies. They then sought, from scholars at every stage of their careers, new ideas about how disabled bodies coexist with a range of other bodies (gendered, queered, racialized, classed, etc.). To call into question why certain bodies invite the label "problem" more frequently than other bodies, the contributors draw on scholarship from feminist, race, queer, cultural studies, disability, and film studies arenas. In Chivers and Markotic's introduction, they draw on disability theory and a range of cinematic examples to explain the term "problem body" in relation to its projection. In explorations of film noir, illness narratives, classical Hollywood film, and French film, the essays reveal the "problem body" as a multiplication of lived circumstances constructed both physically and socially.

‘Prose this powerful could wake the dead’ – Observer Crossing a century of Eastern European history, The Lazarus Project is a profound exploration of alienation and the immigrant experience from Aleksandar Hemon, author of The World and All That It Holds. On 2 March 1908, Lazarus Averbuch, a young Russian Jewish immigrant to Chicago, tried to deliver a letter to the city’s Chief of Police. He was shot dead. After the shooting, it was claimed he was an anarchist assassin and an agent of foreign operatives who wanted to bring the United States to its knees. His sister, Olga, was left alone and bereft in a city seething with tension. A century later, two friends become obsessed with the truth about Lazarus and decide to travel to his birthplace. As the stories intertwine, a world emerges in which everything – and nothing – has changed . . . ‘This is easily Hemon’s best work to date, an intricately tessellated portrait of flight, emigration, and the meaning of home’ – Evening Standard