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|Author||: Stephen King|
|Editor||: Signet Book|
Paul Sheldon, author of a series of historical romances, wakes up in a secluded farmhouse in Colorado with broken legs and Annie Wilkes, a disappointed fan, hovering over him with drugs, ax, and blowtorch and demanding he bring his heroine back to life
|Author||: Samuel Shem, M.D.|
|Editor||: Ballantine Books|
From the Laws of Mount Misery: There are no laws in psychiatry. Now, from the author of the riotous, moving, bestselling classic, The House of God, comes a lacerating and brilliant novel of doctors and patients in a psychiatric hospital. Mount Misery is a prestigious facility set in the rolling green hills of New England, its country club atmosphere maintained by generous corporate contributions. Dr. Roy Basch (hero of The House of God) is lucky enough to train there *only to discover doctors caught up in the circus of competing psychiatric theories, and patients who are often there for one main reason: they've got good insurance. From the Laws of Mount Misery: Your colleagues will hurt you more than your patients. On rounds at Mount Misery, it's not always easy for Basch to tell the patients from the doctors: Errol Cabot, the drug cowboy whose practice provides him with guinea pigs for his imaginative prescription cocktails . . . Blair Heiler, the world expert on borderlines (a diagnosis that applies to just about everybody) . . . A. K. Lowell, née Aliyah K. Lowenschteiner, whose Freudian analytic technique is so razor sharp it prohibits her from actually speaking to patients . . . And Schlomo Dove, the loony, outlandish shrink accused of having sex with a beautiful, well-to-do female patient. From the Laws of Mount Misery: Psychiatrists specialize in their defects. For Basch the practice of psychiatry soon becomes a nightmare in which psychiatrists compete with one another to find the best ways to reduce human beings to blubbering drug-addled pods, or incite them to an extreme where excessive rage is the only rational response, or tie them up in Freudian knots. And all the while, the doctors seem less interested in their patients' mental health than in a host of other things *managed care insurance money, drug company research grants and kickbacks, and their own professional advancement. From the Laws of Mount Misery: In psychiatry, first comes treatment, then comes diagnosis. What The House of God did for doctoring the body, Mount Misery does for doctoring the mind. A practicing psychiatrist, Samuel Shem brings vivid authenticity and extraordinary storytelling gifts to this long-awaited sequel, to create a novel that is laugh-out-loud hilarious, terrifying, and provocative. Filled with biting irony and a wonderful sense of the absurd, Mount Misery tells you everything you'll never learn in therapy. And it's a hell of a lot funnier.
|Author||: Verene Shepherd|
|Editor||: University of West Indies Press|
Following the abolition of slavery in the Caribbean, a concerted effort was made to replace enslaved labour with indentured Indian labour. This is the story of one Indian woman's tragic experience in trying to immigrate to the Caribbean in the 19th century.
|Author||: Morris Gleitzman|
|Editor||: Simon & Schuster|
The adventures of twelve-year-old Keith as he tries to cheer up his parents in such ways as painting their shop in bright colors and convincing them to move from gloomy England to a place called Paradise.
|Author||: Gale, Cengage Learning|
|Editor||: Gale, Cengage Learning|
|Author||: John Linarelli,Margot E. Salomon,Muthucumaraswamy Sornarajah|
|Editor||: Oxford University Press|
Poverty, inequality, and dispossession accompany economic globalization. Bringing together three international law scholars, this book addresses how international law and its regimes of trade, investment, finance, as well as human rights, are implicated in the construction of misery, and how international law is producing, reproducing, and embedding injustice and narrowing the alternatives that might really serve humanity. Adopting a pluralist approach, the authors confront the unconscionable dimensions of the global economic order, the false premises upon which they are built, and the role of international law in constituting and sustaining them. Combining insights from radical critiques, political philosophy, history, and critical development studies, the book explores the pathologies at work in international economic law today. International law must abide by the requirements of justice if it is to make a call for compliance with it, but this work claims it drastically fails do so. In a legal order structured around neoliberal ideologies rather than principles of justice, every state can and does grab what it can in the economic sphere on the basis of power and interest, legally so and under colour of law. This book examines how international law on trade and foreign investment and the law and norms on global finance has been shaped to benefit the rich and powerful at the expense of others. It studies how a set of principles, in the form of a New International Economic Order (NIEO), that could have laid the groundwork for a more inclusive international law without even disrupting its market-orientation, were nonetheless undermined. As for international human rights law, it is under the terms of global capitalism that human rights operate. Before we can understand how human rights can create more just societies, we must first expose the ways in which they reflect capitalist society and how they assist in reproducing the underlying terms of immiseration that will continue to create the need for human rights protection. This book challenges conventional justifications of economic globalization and eschews false choices. It is not about whether one is "for" or "against" international trade, foreign investment, or global finance. The issue is to resolve how, if we are to engage in trade, investment, and finance, we do so in a manner that is accountable to persons whose lives are affected by international law. The deployment of human rights for their part must be considered against the ubiquity of neoliberal globalization under law, and not merely as a discrete, benevolent response to it.
|Author||: James Sage|
|Editor||: Kids Can Press Ltd|
Poor Old Misery. She and her old cat, Rutterkin, ain't got two pennies to rub together. And the one thing of value she does have - a tree, filled with good eating apples - is regularly ransacked by humans and animals of all kinds! So, one day, when a surprise visitor grants her a wish, Old Misery wishes that anyone who tries to steal her apples will end up stuck to the tree! At first, it seems like her wish was a terrific idea, but then Old Misery decides to use her new power on another surprise visitor. And she learns what may be the most miserable lesson of all: be careful what you wish for!
|Author||: M. J. Rubenach|
|Author||: Virginia Jackson|
|Editor||: Princeton University Press|
How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? In Dickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics. Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the "lyricization of poetry," a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry. Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory.
|Author||: Stephen King|
|Editor||: Hodder Paperbacks|
He's a famous writer. She's his number one fan. Misery Chastain is dead. Paul Sheldon has just killed her - with relief, with joy. Misery has made him rich; she was the heroine of a string of bestsellers. And now he wants to get on to some real writing. That's when the car accident happens, and he wakes up in pain in a strange bed. But it isn't hospital. Annie Wilkes has pulled him from the wreck, brought him to her remote mountain home, splinted and set his mangled legs. The good news is that Annie was a nurse and has pain-killing drugs. The bad news is that she has long been Paul's Number One Fan. And when she finds out what Paul had done to Misery, she doesn't like it. She doesn't like it at all. Paul Sheldon used to write for a living. Now he's writing to stay alive.
|Author||: Steve Hamilton|
|Editor||: Minotaur Books|
On a frozen January night, a young man hangs himself in a lonely corner of the Upper Peninsula, in a place they call Misery Bay. Alex McKnight does not know this young man, and he won't even hear about the suicide until two months later, when the last person Alex would ever expect comes to him for help. What seems like a simple quest to find a few answers will turn into a nightmare of sudden violence and bloody revenge, and a race against time to catch a ruthless and methodical killer. McKnight knows all about evil. Mobsters, drug dealers, hit men—he's seen them all, and they've taken away almost everything he's ever loved. But none of them could have ever prepared him for the darkness he's about to face. A New York Times bestseller, Michigan Notable Book, and Boston Globe Best Crime Book of the Year, Steve Hamilton's Misery Bay marks the return of one of crime fiction's most critically acclaimed series.