Scared of ghosts, Alison is a most unlikely medium. But her huge natural gifts for sensing the presence of spirits and angels have taken her on an extraordinary life journey, helping thousands of others with her channelling and healing abilities. Her down-to-earth English humour has also brought her fame as hostess of the TV programme Rescue Mediums.

Scared of ghosts, Alison is a most unlikely medium. But her huge natural gifts for sensing the presence of spirits and angels have taken her on an extraordinary life journey, helping thousands of others with her channelling and healing abilities. Her down-to-earth English humour has also brought her fame as hostess of the TV programme Rescue Mediums.

After being hit by lightning, 12-year-old Lilah, who has a crush on classmate Andrew Finkel, discovers that she can communicate with dead people, including her grandmother who wants Lilah to find a new wife for Lilah's divorced father.

“Complete with chatty prose, the requisite tea shop, and spooky clues, Slavin’s delightful novel takes the reader happily all the way to the ever after” (Booklist). Annie Colville can see—and converse with—dead people. She’s had this gift since she was a child, though “gift” may be overstating it since most of what they have to tell her is quite petty and tedious. But when her husband disappears suddenly, he does not come to visit her. So does that mean Evan is still alive? During her long wait to discover what happened to Evan, Annie searches through her mother’s vast collection of lovers for the other missing man in her life—her father—and struggles with the questions her gift asks of her. Who is the mysterious girl who sits by the lake? What happened to the lost woman whose sister has never stopped searching for her? And why are so many of the dead voices called Jim? Quirky, irreverent, moving, and a little bit spooky, this novel by “a highly original talent” will charm you completely—even as it’s raising the hairs on the back of your neck (Beryl Bainbridge, author of An Awfully Big Adventure). “Lightheartedly macabre . . . Slavin has something more subversive up her sleeve than mere entertainment: in conjuring a world of ghosts as likely to bore as to scare her heroine to death, she wickedly skewers a society whose obsession with the afterlife shortchanges life itself.” —The New York Times “Annie endears herself to the reader . . . She embodies a genuine purity of heart.” —Publishers Weekly

‘This is a life-changing book. Read it three times and then give a copy to anyone you care about. It will make things better’ – Seth Godin, author of This Is Marketing Why Are We Yelling? is Buster Benson’s essential guide to having more honest and constructive arguments. Have you ever walked away from an argument and suddenly thought of all the brilliant things you wish you'd said? Do you avoid certain family members and colleagues because of bitter, festering tension that you can't figure out how to address? Now, finally, there's a solution: a new framework that frees you from the trap of unproductive conflict and pointless arguing forever. If the threat of raised voices, emotional outbursts, and public discord makes you want to hide under the conference room table, you're not alone. Conflict, or the fear of it, can be exhausting. But as this powerful book argues, conflict doesn't have to be unpleasant. In fact, properly channeled, conflict can be the most valuable tool we have at our disposal for deepening relationships, solving problems, and coming up with new ideas. As the mastermind behind some of the highest-performing teams at Amazon, Twitter, and Slack, Buster Benson spent decades facilitating hard conversations in stressful environments. In this book, Buster reveals the psychological underpinnings of awkward, unproductive conflict and the critical habits anyone can learn to avoid it. Armed with a deeper understanding of how arguments, you'll be able to: * Remain confident when you're put on the spot * Diffuse tense moments with a few strategic questions * Facilitate creative solutions even when your team has radically different perspectives Why Are We Yelling? will shatter your assumptions about what makes arguments productive. You'll find yourself having fewer repetitive, predictable fights once you're empowered to identify your biases, listen with an open mind, and communicate well. ‘All you need is Buster Benson. His methods are instantly actionable, [and] his writing is funny and relatable’ – Adam Grant, author of Originals

The science behind the traits and quirks that drive creative geniuses to make spectacular breakthroughs What really distinguishes the people who literally change the world -- those creative geniuses who give us one breakthrough after another? What differentiates Marie Curie or Elon Musk from the merely creative, the many one-hit wonders among us? Melissa Schilling, one of the world's leading experts on innovation, invites us into the lives of eight people -- Albert Einstein, Benjamin Franklin, Elon Musk, Dean Kamen, Nikola Tesla, Marie Curie, Thomas Edison, and Steve Jobs -- to identify the traits and experiences that drove them to make spectacular breakthroughs, over and over again. While all innovators possess incredible intellect, intellect alone, she shows, does not create a breakthrough innovator. It was their personal, social, and emotional quirkiness that enabled true genius to break through--not just once but again and again. Nearly all of the innovators, for example, exhibited high levels of social detachment that enabled them to break with norms, an almost maniacal faith in their ability to overcome obstacles, and a passionate idealism that pushed them to work with intensity even in the face of criticism or failure. While these individual traits would be unlikely to work in isolation -- being unconventional without having high levels of confidence, effort, and goal directedness might, for example, result in rebellious behavior that does not lead to meaningful outcomes -- together they can fuel both the ability and drive to pursue what others deem impossible. Schilling shares the science behind the convergence of traits that increases the likelihood of success. And, as Schilling also reveals, there is much to learn about nurturing breakthrough innovation in our own lives -- in, for example, the way we run organizations, manage people, and even how we raise our children.

Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33”, Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.