Includes an afterword by the author In the Freud Archives tells the story of an unlikely encounter among three men: K. R. Eissler, the venerable doyen of psychoanalysis; Jeffrey Moussaieff Masson, a flamboyant, restless forty-two-year-old Sanskrit scholar turned psychoanalyst turned virulent anti-Freudian; and Peter Swales, a mischievous thirty-five-year-old former assistant to the Rolling Stones and self-taught Freud scholar. At the center of their Oedipal drama are the Sigmund Freud Archives--founded, headed, and jealously guarded by Eissler--whose sealed treasure gleams and beckons to the community of Freud scholarship as if it were the Rhine gold. Janet Malcolm's fascinating book first appeared some twenty years ago, when it was immediately recognized as a rare and remarkable work of nonfiction. A story of infatuation and disappointment, betrayal and revenge, In the Freud Archives is essentially a comedy. But the powerful presence of Freud himself and the harsh bracing air of his ideas about unconscious life hover over the narrative and give it a tragic dimension.

A Ring of Truth is set in exotic, faraway Borneo, The Land of the Headhunter, about 600 years ago. This book is a collection of intriguing Ancestral fact-fiction short stories; Synthesised from ancient myths, Legends and oral histories. These intriguing short stories Are about the ancient Dayak ancestors. The main stories revolve around ancient Borneo adventours, And brave fierce warlike headhunter-warriors. These stories are but imperfect recollections From fading elder's memories. These stories are partly based on written historical facts. The rest are creative reflections Of the accumulated living historical facts. These stories are here written For your children to read and remember, The origin and tough challenges Along the footsteps of their great ancestors. It is also here written, That you may well come to know, How temporally and geographically far, Your ancient forefathers have to go. I name this book A RING OF TRUTH. A superstring of ancestral stories. A superstring of ancient heroes, In the adventour's genealogy. A Certain Kind of Story. A Certain Kind of History. A Certain Kind of Poetic Journey. A Certain Kind of Reality. A Ring of Truth.

The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as Andréeacute; Breton, Louis Aragon, Robert Desnos, Salvador Dalíiacute;, Luis Buñntilde;uel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial-often Hollywood-cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior-as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies. As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life-there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema. . . . [T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of erudite film-critical writing is recognisable for its iconoclastic humour, non-authoritarian verve and playful witty discursivity." --John Conomos, Senses of Cinema Paul Hammond is a writer, editor, and translator living in Barcelona. He is the author of Constellations of Miróoacute;, Breton which was published by City Lights.

A revolutionary new educational model that encourages educators to provide spaces for students to display their academic brilliance without sacrificing their identities Building on the ideas introduced in his New York Times best-selling book, For White Folks Who Teach in the Hood, Christopher Emdin introduces an alternative educational model that will help students (and teachers) celebrate ratchet identity in the classroom. Ratchetdemic advocates for a new kind of student identity—one that bridges the seemingly disparate worlds of the ivory tower and the urban classroom. Because modern schooling often centers whiteness, Emdin argues, it dismisses ratchet identity (the embodying of “negative” characteristics associated with lowbrow culture, often thought to be possessed by people of a particular ethnic, racial, or socioeconomic status) as anti-intellectual and punishes young people for straying from these alleged “academic norms,” leaving young people in classrooms frustrated and uninspired. These deviations, Emdin explains, include so-called “disruptive behavior” and a celebration of hip-hop music and culture. Emdin argues that being “ratchetdemic,” or both ratchet and academic (like having rap battles about science, for example), can empower students to embrace themselves, their backgrounds, and their education as parts of a whole, not disparate identities. This means celebrating protest, disrupting the status quo, and reclaiming the genius of youth in the classroom.

‘Right now, someone else’s life was in his hands. He couldn’t say whether it was a few seconds or minutes that they both stood staring at each other, but he had never been so scared in his life.’ In Truth or Dare we follow, spell-bound, as chance encounters bring violent pasts roaring into the present; we wait on tenterhooks as a woman sits by her husband’s hospital bed as both their lives hang in the balance; we watch anxiously as a homeless man begs a woman with her life and career stretching ahead of her not to jump to her death. By turns comedic, heart-wrenching and moving, these stories paint powerful pictures of pain, love and empathy, and celebrate the power we have over one another. From the rain-soaked waterways of London to the bustling streets of Dhaka, Truth or Dare is a stunning collection that spans two continents and sees the best and worst in both. 'The writer’s wonderfully crafted language and commendable flair make the characters’ emotions, their dreams, their fears, their disappointments, etc., recognisable and easy to empathise with. The plots are refreshingly different. The soul-stirring narrations as one engaging story follows another makes Truth or Dare a very worthwhile read. As we finish reading each story, we feel that we understand a little more about human nature, even though we experience a sense of loss at the same time.' The Asian Age 'Showcasing the best and worst of humanity, Truth or Dare is a powerful and riveting collection that will have you turning the pages until you’ve devoured every last word. Soaked in compassion, love and a host of other emotions, Nadia K Barb’s work will remind you of Gabriel Garcia Marquez at the height of his powers. Rich and evocative, this is a collection to be cherished and savoured.' Awais Khan, author of No Honour 'These stories draw you in, hold you, speak to you, tell you secrets, and show you worlds, and then let you go at just that point when you can’t stop thinking about them. Each one is a journey, each story a gem. Short fiction has a new torchbearer in Nadia Kabir Barb and this remarkable debut is just the beginning, I hope.' Nadeem Zaman, author of The Inheritors 'Nadia Kabir Barb writes with compassion and imagination about her characters, who are varied and richly drawn. She keeps the reader close to the stories, allowing us to experience their anguish, fears and joys on an intimate level.' Sharbari Z. Ahmed, author of Dust Under Her Feet 'Effortlessly switching between London and Dhaka, Nadia Kabir Barb’s humanity shines through in this tender and diverse collection.' Bee Rowlatt, author of One Woman Crime Wave 'Sharply observed and vivid in detail, Nadia Kabir Barb’s stories lay bare the poignant, the powerful, the traumatic moments on which our lives turn. These delicate, penetrating vignettes are glimpses that encapsulate a greater whole. Hers is a memorable short fiction debut.' Steven J. Fowler, author of The Guide to Being Bear Aware

Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.