The scourge of the high seas, the Black Angel would stop at nothing to get what he wanted--until a bold beauty captures his heart and makes him want to be a better man. Original.

In 1969, Per Seyersted gave the world the first collected works of Kate Chopin. Seyersted's presentation of Chopin's writings and biographical and bibliographical information led to the rediscovery and celebration of this turn-of-the-century author. Newsweek hailed the two-volume opus -- "In story after story and in all her novels, Kate Chopin's oracular feminism and prophetic psychology almost outweigh her estimable literary talents. Her revival is both interesting and timely." Now for the first time, Seyersted'sComplete Works is available in a single-volume paperback. It is the first and only paperback edition of Chopin's total oeuvre. Containing twenty poems, ninety-six stories, two novels, and thirteen essays -- in short, everything Chopin wrote except several additional poems and three unfinished children's stories -- as well as Seyersted's original revelatory introduction and Edmund Wilson's foreword, this anthology is both a historical and a literary achievement. It is ideal for anyone who wishes to explore the pleasures of reading this highly acclaimed author.

Widely acclaimed when first published in French in 1994, Mongo Beti's tenth novel, L'histoire du fou, continues the author's humorous yet fierce criticism of the colonial system in Africa and its legacy of governmental corruption. Translated here as The Story of the Madman, the novel gives the English-speaking world Beti's comic satire of the fictional Chief Zoaételeu and his favorite sons Zoaétoa and Narcisse. In a modern fable that Beti uses to illustrate the problems of a people's disintegrating values in a postcolonial state, Chief Zoaételeu, a puppet under two dictatorial regimes, is swept into the frontline of politics, where his fortunes unravel. Along with his caustic portrayal of failed government--clearly a reflection of his native Cameroon--Beti's realism provides an intriguing view of the struggle for balance between traditional life and imminent change in African culture.

Smart Jews addresses one of the most controversial theories of our day: the alleged connection between race (or ethnicity), intelligence, and virtue. Sander Gilman shows that such theories have a long, disturbing history. He examines a wide range of texts-scientific treatises, novels, films, philosophical works, and operas-that assert the greater intelligence (and, often, lesser virtue) of Jews. The book opens with a discussion of concepts that relate intelligence and race (particularly those that figure in the controversial bestseller The Bell Curve); it then describes "scientific" theories of Jewish superior intelligence that were developed in the nineteenth and early twentieth centuries. Gilman explores the reactions to those theories by Jewish scientists and intellectuals of that era, including Sigmund Freud, Ludwig Wittgenstein, and Hugo von Hofmannsthal. The conclusion turns to how such ideas figure in modern novels and films, from F. Scott Fitzgerald's The Last Tycoon to Stephen Spielberg's Schindler's List and Robert Redford's Quiz Show. Gilman demonstrates how stereotypes can permeate society, finding expression in everything from scientific work to popular culture. And he shows how the seemingly flattering attribution of superior intelligence has served to isolate Jews and to cast upon them the imputation of lesser virtue. A fascinating, highly readable book, Smart Jews is an essential work in our ongoing debates about race, ethnicity, intelligence, and virtue. Sander Gilman is Henry R. Luce Professor of the Liberal Arts in Human Biology at the University of Chicago. His works include Difference and Pathology: Stereotypes of Sexuality, Race, and Madness; Jewish Self-Hatred:Anti-Semitism and the Hidden Language of Jews; and Inscribing the Other (Nebraska 1992).

The Senior Vice President of Christie’s and seasoned auctioneer Lydia Fenet, with her “razor-sharp humor and her don’t-mess-with-me gavel strike” (Mariska Hargitay, star of Law & Order: Special Victims Unit), shares the secrets of success and the strategies behind her revolutionary sales approach to show you how to embrace and channel your own power in any room. Who is the most powerful woman in the room? She’s the one who can raise a million dollars in a minute. She’s the one who can command the attention of a group of any size from one person to five thousand. She’s the one who can sell anything to anyone. And she can be you. As a senior executive at Christie’s, leader in her field, and one of Gotham magazine’s Most Influential Women in New York, Lydia Fenet knows firsthand that the one skill that can set women apart in both their personal life and career is the ability to sell. The Most Powerful Woman in the Room Is You equips you with everything you need to know—from how to sell authentically and how to network (or die), to the importance of never apologizing (start negotiating instead), how to perfect your poker face, and always, always, tell the truth. Most of all, she offers plenty of encouragement to take ownership in your position and look for opportunities to innovate. Filled with additional case studies, thoughtful insights, and meaningful advice from some of the most powerful and successful women in business, fashion, journalism, sports, and the arts, The Most Powerful Woman in the Room Is You “is an insightful, inspiring guide for women who are trying to claim their own seat at the table” (New York Journal of Books).

This book is a feminist analysis which combines a psychoanalytic perspective on catastrophic birth with the politics of reproduction in the emergent democracy of nineteenth-century France. It focuses on three major thinkers whose personal relation to origins is problematic - Roussea, Constant, and Stendhal - and also includes a broad reading of the nineteenth-century novel within the frame of pathological generation, giving special attention to works by Michelet and Zola. Professor Mossman identifies important areas of interaction between production and reproduction at the level of aesthetic form, and between private, birth-related discourse and the ideology of the birth of democracy. Within the context of the collapse of ancien regime France, the nascent ideology of motherhood collides with modes of discourse that invade and colonize the maternal body, generating a considerable burden of anxiety expressed in the nineteenth-century French novel.

A brilliant examination of the allegorical uses of the female form to be found in the sculpture ornamenting public buildings as well as throughout the history of western art.