From the author of the Torn trilogy comes an inventive romantic thriller. Every time someone makes a choice, a new, parallel world is spun off the existing one and Del's job is to keep the dimensions in harmony.

Originally published: Evanston, Ill.: Row, Peterson, c1957.

An argument that by amplifying alienation in performance, we can shift the emphasis from the sonic to the social. Work in sound studies continues to seek out sound "itself"--but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance--the discrepancy between our individual narcissism and our social capacity. Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.

Although the role of shared speech in political action has received much theoretical attention, too little thought has focused on the practice of listening in political interaction, according to Susan Bickford. Even in a formally democratic polity, political action occurs in a context of conflict and inequality; thus, the shared speech of citizenship differs significantly from the conversations of friendly associates. Bickford suggests that democratic politics requires a particular quality of attention, one not based on care or friendship. Analyzing specifically political listening is central to the development of democratic theory, she contends, and to envisioning democratic practices for contemporary society.Bickford's analysis draws on the work of Aristotle and of Hannah Arendt to establish the conflictual and contentious character of politics. To analyze the social forces that deflect attention from particular voices, Bickford mobilizes contemporary feminist theory, including Gloria Anzaldua's work on the connection between identity and politics. She develops a conception of citizen interaction characterized by adversarial communication in a context of inequality. Such a conception posits public identity—and hence public listening—as active and creative, and grounded in particular social and political contexts.

From the acclaimed author of A Cosmology of Monsters ("I loved it" —Stephen King) comes an epic contemporary fantasy, a mixture of The Magicians and It: a story of dark magic, terrible mistakes, and second chances. "You can never go home again," the saying goes—but Hal, Athena, and Erin have to. In high school, the three were students of the eccentric Professor Marsh, trained in a secret system of magic known as the Dissonance, which is built around harnessing negative emotions: alienation, anger, pain. Then, twenty years ago, something happened that shattered their coven, scattering them across the country, stuck in mundane lives, alone. But now, terrifying signs and portents (not to mention a pointed Facebook invite) have summoned them back to Clegg, Texas. There, their paths will collide with that of Owen, a closeted teenager from Alabama whose aborted cemetery seance with his crush summoned something far worse: a murderous entity whose desperate, driving purpose includes kidnapping Owen to serve as its Renfield. As Owen tries to outwit his new master, and Hal, Athena, and Erin reckon with how the choices they made as teens might connect to the apocalyptic event unfurling over the Lone Star State, shocking alliances form, old and new romances brew, and three unsuccessful adults and one frightened teen are all that stand between reality and oblivion. From one of the boldest, most brilliant voices in modern fantastical horror, The Dissonance is a thrilling and beautifully written story of magic and monsters, forgiveness and friendship.

What counts? In work, as in other areas of life, it is not always clear what standards we are being judged by or how our worth is being determined. This can be disorienting and disconcerting. Because of this, many organizations devote considerable resources to limiting and clarifying the logics used for evaluating worth. But as David Stark argues, firms would often be better off, especially in managing change, if they allowed multiple logics of worth and did not necessarily discourage uncertainty. In fact, in many cases multiple orders of worth are unavoidable, so organizations and firms should learn to harness the benefits of such "heterarchy" rather than seeking to purge it. Stark makes this argument with ethnographic case studies of three companies attempting to cope with rapid change: a machine-tool company in late and postcommunist Hungary, a new-media startup in New York during and after the collapse of the Internet bubble, and a Wall Street investment bank whose trading room was destroyed on 9/11. In each case, the friction of competing criteria of worth promoted an organizational reflexivity that made it easier for the company to change and deal with market uncertainty. Drawing on John Dewey's notion that "perplexing situations" provide opportunities for innovative inquiry, Stark argues that the dissonance of diverse principles can lead to discovery.

"1910 stands out as a model of interdisciplinary and comparative study. . . . It brilliantly illustrates the complexity of a crucial period in European culture . . . focusing in particular on the intellectual intricacies of Mitteleuropa on the eve of World War I and of the dissolution of the Austro-Hungarian empire."—Lucia Re "Compellingly original. . . . In Harrison's work, Michelstaedter and his confreres (Campana, Slataper, Kokoschke, Rilke, Kandinsky, Lukàcs, Trakl, et al.) turn out to be considerably more fascinating and more emblematic of their time than anyone has been able to perceive before."—Gregory Lucente, University of Michigan