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A Modern Lover (1883) is a novel by George Moore. His debut novel marked a turning point in Moore’s early career, characterized to that point by poorly written French poetry and a failed attempt at becoming a painter. Although less acclaimed than such novels as Esther Waters (1894), A Modern Lover is credited with being the first English novel to employ the experimental methods of Moore’s French contemporaries. Like much of Moore’s work, A Modern Lover shows the influence of French naturalist writer Émile Zola, who sought to portray the influence of heredity and social environment on the lives of his characters without shying away from poverty, sex, disease, and suffering. Lewis Seymour is a young artist who moves to London in search of fame and achievement. Although he shows promise, he quickly falls into a pattern of social climbing rather than focusing on honing his craft. As he uses one wealthy, well-connected woman after the next in a tireless journey upward, he begins to lose sight of his artistic dreams. Eventually, he settles on three women whose affection and support allow him to make a name for himself—Gwinnie, a shopgirl; Mrs. Bethan, a middle-class divorcee; and Lady Helen, a powerful aristocrat. A Modern Lover is a story of sexuality and ambition from a pioneering figure in the formation of the modern English novel. This edition of George Moore’s A Modern Lover is a classic of Irish literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

A Modern Lover (1883) is a novel by George Moore. His debut novel marked a turning point in Moore’s early career, characterized to that point by poorly written French poetry and a failed attempt at becoming a painter. Although less acclaimed than such novels as Esther Waters (1894), A Modern Lover is credited with being the first English novel to employ the experimental methods of Moore’s French contemporaries. Like much of Moore’s work, A Modern Lover shows the influence of French naturalist writer Émile Zola, who sought to portray the influence of heredity and social environment on the lives of his characters without shying away from poverty, sex, disease, and suffering. Lewis Seymour is a young artist who moves to London in search of fame and achievement. Although he shows promise, he quickly falls into a pattern of social climbing rather than focusing on honing his craft. As he uses one wealthy, well-connected woman after the next in a tireless journey upward, he begins to lose sight of his artistic dreams. Eventually, he settles on three women whose affection and support allow him to make a name for himself—Gwinnie, a shopgirl; Mrs. Bethan, a middle-class divorcee; and Lady Helen, a powerful aristocrat. A Modern Lover is a story of sexuality and ambition from a pioneering figure in the formation of the modern English novel. This edition of George Moore’s A Modern Lover is a classic of Irish literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

A Modern Lover (1883) is a novel by George Moore. His debut novel marked a turning point in Moore’s early career, characterized to that point by poorly written French poetry and a failed attempt at becoming a painter. Although less acclaimed than such novels as Esther Waters (1894), A Modern Lover is credited with being the first English novel to employ the experimental methods of Moore’s French contemporaries. Like much of Moore’s work, A Modern Lover shows the influence of French naturalist writer Émile Zola, who sought to portray the influence of heredity and social environment on the lives of his characters without shying away from poverty, sex, disease, and suffering. Lewis Seymour is a young artist who moves to London in search of fame and achievement. Although he shows promise, he quickly falls into a pattern of social climbing rather than focusing on honing his craft. As he uses one wealthy, well-connected woman after the next in a tireless journey upward, he begins to lose sight of his artistic dreams. Eventually, he settles on three women whose affection and support allow him to make a name for himself—Gwinnie, a shopgirl; Mrs. Bethan, a middle-class divorcee; and Lady Helen, a powerful aristocrat. A Modern Lover is a story of sexuality and ambition from a pioneering figure in the formation of the modern English novel. This edition of George Moore’s A Modern Lover is a classic of Irish literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

2023 EUSA Book Award - Honorable Mention


Current migration policy is based on a seemingly neutral accounting exercise, in which migrants contribute less in tax than they receive in welfare assistance. A “fact” that justifies increasingly restrictive asylum policies. Peo Hansen shows that this consensual cost-perspective on migration is built on a flawed economic conception of the orthodox “sound finance” doctrine prevalent in migration research and policy. By examining migration through the macroeconomic lens offered by modern monetary theory, Hansen is able to demonstrate sound finance’s detrimental impact on migration policy and research, including its role in stoking the toxic debate on migration in the European Union. More importantly, Hansen’s undertaking offers the tools with which both migration research and migration policy could be modernized and put on a realistic footing.

2023 EUSA Book Award - Honorable Mention


Current migration policy is based on a seemingly neutral accounting exercise, in which migrants contribute less in tax than they receive in welfare assistance. A “fact” that justifies increasingly restrictive asylum policies. Peo Hansen shows that this consensual cost-perspective on migration is built on a flawed economic conception of the orthodox “sound finance” doctrine prevalent in migration research and policy. By examining migration through the macroeconomic lens offered by modern monetary theory, Hansen is able to demonstrate sound finance’s detrimental impact on migration policy and research, including its role in stoking the toxic debate on migration in the European Union. More importantly, Hansen’s undertaking offers the tools with which both migration research and migration policy could be modernized and put on a realistic footing.

“A young healthy child well nursed, is, at a year old, a most delicious nourishing and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricasee, or a ragoust.”

Jonathan Swift’s 1729 pamphlet is at once a denunciation of the mistreatment of Ireland’s poor and a daringly inventive comic rhapsody. Still shocking in its defiance of good taste and unrivalled in its evisceration of political hypocrisy, this is one of the greatest satires ever written.

Eris Gems make available in the form of beautifully produced saddle-stitched booklets a series of outstanding short works of fiction and non-fiction.

“A brave and lyrical exploration of motherhood and mental health … as terrifying as it is riveting.” — Susannah Cahalan, NYT bestselling author of Brain on Fire

Early motherhood is supposed to be joyous, but for Aaisha Alvi, those early days were ruined by terrifying, delusional thoughts about her baby and family. Far beyond the trials of breastfeeding and getting her baby to sleep, Aaisha’s experience was the antithesis of everything she had ever been told about motherhood.

When her second pregnancy ended in miscarriage, Aaisha’s psychosis returned. This time, however, she was blindsided by the unimaginable: voices urging her to stab her daughter and to harm innocent people. Aaisha felt evil, worthy of taking her own life. But each time she sought medical help, she was turned away.

With unflinching honesty, Aaisha takes readers beyond the vitriol and blame flung at women — particularly women of colour — suffering from postpartum psychosis. Her story is a clarion call to increase awareness of a condition that need never result in tragedy and to build support for those affected by it.

A MOMENT ON THE CLOCK OF THE WORLD is an invitation to consider how we make the world, together. It collects the voices of people who respond to this invitation with their living lives and prolific work: artists, social justice practitioners, cultural critics and public intellectuals — Cornel West, Taylor Mac, Alisa Solomon, Robin D.G. Kelley and Laura Flanders among them — whose own inquiries intersected with that of the award-winning Foundry Theatre across its 25-year history.

Notions of collaboration, art, community, space, prefigurative politics, metrics, and Time animate a conversation about the ways that artists and social justice workers build a more equitable world, and the historic challenges of their doing so together.

A MOMENT ON THE CLOCK OF THE WORLD follows The Foundry’s long-standing tradition for creating provocative relationships between form and content. Its layout divides each page into two discrete horizontal sections; the top two-thirds contain each contributor’s chapter, while the bottom of the pages throughout the book hold a history of The Foundry’s inquiry by the company’s founder. There is no prescribed way to read this book. Rather, it is designed to invite the reader to discover and gather shared themes and ideas in any number of ways. 

The title of the book recalls renowned social activist and philosopher Grace Lee Boggs’s legendary — and for some, incendiary — call for a new kind of activism: “Now is the time on the clock of the world to grow our souls.” This book gathers together hard-won insights of its “moment.” It’s a moment on the continuum of ever in the (r)evolutionary human project of making the world.

A MOMENT ON THE CLOCK OF THE WORLD is an invitation to consider how we make the world, together. It collects the voices of people who respond to this invitation with their living lives and prolific work: artists, social justice practitioners, cultural critics and public intellectuals — Cornel West, Taylor Mac, Alisa Solomon, Robin D.G. Kelley and Laura Flanders among them — whose own inquiries intersected with that of the award-winning Foundry Theatre across its 25-year history.

Notions of collaboration, art, community, space, prefigurative politics, metrics, and Time animate a conversation about the ways that artists and social justice workers build a more equitable world, and the historic challenges of their doing so together.

A MOMENT ON THE CLOCK OF THE WORLD follows The Foundry’s long-standing tradition for creating provocative relationships between form and content. Its layout divides each page into two discrete horizontal sections; the top two-thirds contain each contributor’s chapter, while the bottom of the pages throughout the book hold a history of The Foundry’s inquiry by the company’s founder. There is no prescribed way to read this book. Rather, it is designed to invite the reader to discover and gather shared themes and ideas in any number of ways. 

The title of the book recalls renowned social activist and philosopher Grace Lee Boggs’s legendary — and for some, incendiary — call for a new kind of activism: “Now is the time on the clock of the world to grow our souls.” This book gathers together hard-won insights of its “moment.” It’s a moment on the continuum of ever in the (r)evolutionary human project of making the world.

We began with the intention of monographing Chalara and very similar fungi (Excioconidium, etc.). We soon extended the scope of our study to encompass those dimorphic imperfect genera with Chalara-like phialides (Thielaviopsis, Chalaropsis, Stilbochalam, Hughesiella), then to cover two other genera with Chalara-like phialides but having characteristic ancillary sterile structures (Chaetochalara, Sporoschisma). Finally we considered several other genera with phialides having more or less cylindrical collarettes and deep-seated conidiogenous loci (Bloxamia, Endosporostilbe, Ascoconidium, Sporendocladia) or whose descriptions raised the suspicion that they had such attributes (Endoconidium, Columnophora, Milowia). To have extended the study further would have meant including phialidic genera which, although often having relatively deep collarettes, were otherwise not particularly morphologically comparable to Chalara (Catenularia, Phialophora, Phialocephala, Sporoschismopsis).

A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation.

While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.

A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation.

While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.

Spend a month in the company of Julian of Norwich, with sixty-two reflections to enrich your mornings and evenings.

Julian of Norwich was a fourteenth-century mystic whose writings vividly convey the love of God and his presence in suffering.

These 62 readings help you bookend the day with deep contemplation.

'According to her vision of God, he . . . has always been imparting unconditional love.' - Janina Ramirez, from Julian of Norwich: A very brief history

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Dean of St John's College, Cambridge

Spend a month in the company of Julian of Norwich, with sixty-two reflections to enrich your mornings and evenings.

Julian of Norwich was a fourteenth-century mystic whose writings vividly convey the love of God and his presence in suffering.

These 62 readings help you bookend the day with deep contemplation.

'According to her vision of God, he . . . has always been imparting unconditional love.' - Janina Ramirez, from Julian of Norwich: A very brief history

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Dean of St John's College, Cambridge

Spend a month in the company of St Augustine, with sixty-two reflections to enrich your mornings and evenings.

St Augustine of Hippo was a Father of the Church. His fourth-century autobiographical work, The Confessions, continues to inspire many people.

'[The Confessions] has a perennial power to speak, even though written virtually sixteen centuries ago.' - Henry Chadwick, translator of The Confessions (Oxford World's Classics)

Praise for the A Month with series:

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Chancellor of St Paul’s Cathedral, London

Spend a month in the company of St Augustine, with sixty-two reflections to enrich your mornings and evenings.

St Augustine of Hippo was a Father of the Church. His fourth-century autobiographical work, The Confessions, continues to inspire many people.

'[The Confessions] has a perennial power to speak, even though written virtually sixteen centuries ago.' - Henry Chadwick, translator of The Confessions (Oxford World's Classics)

Praise for the A Month with series:

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Chancellor of St Paul’s Cathedral, London

Spend a month in the company of St Francis, with sixty-two reflections to enrich your mornings and evenings.

'[Francis received] the unhealed everlasting wounds that heal the world.' - G. K. Chesterton, St. Francis of Assisi

Praise for the 'A Month with' series:

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Chancellor of St Paul's Cathedral, London

St Francis of Assisi, the founder of the Franciscan Order, lived in early thirteenth-century Italy and is known as the patron saint of animals.

Spend a month in the company of St Francis, with sixty-two reflections to enrich your mornings and evenings.

'[Francis received] the unhealed everlasting wounds that heal the world.' - G. K. Chesterton, St. Francis of Assisi

Praise for the 'A Month with' series:

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Chancellor of St Paul's Cathedral, London

St Francis of Assisi, the founder of the Franciscan Order, lived in early thirteenth-century Italy and is known as the patron saint of animals.

Spend a month in the company of St Teresa of Avila, with sixty-two reflections to enrich your mornings and evenings.

'To be a "contemplative" . . . as she saw it, was essentially a matter of the sustained awareness of living within the movement of God's love.' - Rowan Williams, Teresa of Avila

Praise for the 'A Month with' series:

'This series helps us to be properly nurtured by the living, radical Christian tradition of faith.' - Mark Oakley, author and Chancellor of St Paul's Cathedral, London

Teresa of Avila lived in sixteenth-century Spain. She is known for her writings and for reforming the Carmelite Order.

Spend a month in the company of St Teresa of Avila, with sixty-two reflections to enrich your mornings and evenings.

‘To be a “contemplative” . . . as she saw it, was essentially a matter of the sustained awareness of living within the movement of God’s love.’ - Rowan Williams, Teresa of Avila

Praise for the A Month with series:

‘This series helps us to be properly nurtured by the living, radical Christian tradition of faith.’ - Mark Oakley, author and Chancellor of St Paul’s Cathedral, London

Teresa of Avila lived in sixteenth-century Spain. She is known for her writings and for reforming the Carmelite Order.

Tells the history of St. Vincent's Hospital and the transformative impact of Catholic health care in New York City.

St. Vincent’s Hospital began with a simple, but radical mission: to care for all those in need regardless of race, creed, or financial means. For more than 160 years, the hospital carried out that work, serving notables and the nameless alike, from impoverished immigrants and those stricken by devastating nineteenth-century epidemics to AIDS patients and the victims of the attacks of 9/11.

A Monument of Charity provides the first comprehensive history of this remarkable institution, from its humble beginnings in 1849 to its abrupt closure in 2010. Located in the heart of Greenwich Village, St. Vincent’s earned distinction not only for the quality of its medical programs, but also for its unwavering dedication to the poor. The hospital was a testament to the vision and labor of the Sisters of Charity, who founded, staffed, and administered the hospital with remarkable skill and devotion.

This captivating account documents St. Vincent’s growth into one of the largest and most prominent Catholic medical centers in the United States, as well as its struggles to sustain its religious mission within the ever-changing and increasingly competitive medical marketplace. A Monument to Charity highlights the immense contributions of Catholic sisters to health care in the United States as well as the enduring legacy of all those who worked alongside them to care for the sick and alleviate suffering.

Tells the history of St. Vincent's Hospital and the transformative impact of Catholic health care in New York City.

St. Vincent’s Hospital began with a simple, but radical mission: to care for all those in need regardless of race, creed, or financial means. For more than 160 years, the hospital carried out that work, serving notables and the nameless alike, from impoverished immigrants and those stricken by devastating nineteenth-century epidemics to AIDS patients and the victims of the attacks of 9/11.

A Monument of Charity provides the first comprehensive history of this remarkable institution, from its humble beginnings in 1849 to its abrupt closure in 2010. Located in the heart of Greenwich Village, St. Vincent’s earned distinction not only for the quality of its medical programs, but also for its unwavering dedication to the poor. The hospital was a testament to the vision and labor of the Sisters of Charity, who founded, staffed, and administered the hospital with remarkable skill and devotion.

This captivating account documents St. Vincent’s growth into one of the largest and most prominent Catholic medical centers in the United States, as well as its struggles to sustain its religious mission within the ever-changing and increasingly competitive medical marketplace. A Monument to Charity highlights the immense contributions of Catholic sisters to health care in the United States as well as the enduring legacy of all those who worked alongside them to care for the sick and alleviate suffering.

The histories of European unification and of West European democracy during the second half of the twentieth century have often been considered as separate or even antagonistic processes with the institutions of European integration being regarded as bastions of bureaucratic rule. A More Democratic Community challenges this assumption and argues that European integration benefited from the democratic accountability of member states while contributing to the validation of national democratic institutions. However, it also unveils a paradox: as integration deepened, it diminished the power of national parliaments, sparking a democratic accountability crisis within the Community.

• A PSYCHOLOGICAL APPROACH to a more meaningful life.
• PRACTICAL TIPS ON NAVIGATING ANGER, INTIMACY, AND EXCEPTIONALISM
• A GUIDE TO FINDING EXCITEMENT at work, in relationships, and within.

Henry O’Toole sails to America in 1848 to escape poverty and famine in Ireland, only to find anti-Irish prejudice awaiting him. Determined never to starve again, he changes his surname to Taylor and heads south to the state of Virginia, seeking work as a travelling blacksmith on the prosperous plantations. Sarah is a slave. Torn from her family and sold to Jubilee Plantation, she must navigate the hierarchy of her fellow slaves, the whims of her white masters, and now the attention of the mysterious blacksmith. Fellow slave Maple oversees the big house with bitterness and bile and knows that a white man’s attention spells trouble. Given to her half-sister as a wedding present by their white father, she is set on being reunited with her husband and daughter, at any cost.

This extraordinary debut novel heralds the arrival of an exciting new voice in Black women’s writing. The novel is first-person narration told in alternating viewpoints. Set in 1848-1849 in Ireland, New York and Virginia (primarily Virginia). It is an interracial love story set in pre-Civil War America, and inspired by the true story of Huf’s great-great-grandparents. Along with love and race, it touches on themes of identity, sacrifice, belonging and survival.

Research included contemporary slave narratives (printed to further the abolitionist cause), digitally remastered audio recordings of former slaves, legislation on the question of slavery in the mid-19th century, historical texts on the Irish famine and first-hand accounts of English visitors to Ireland at the time, the writings of Charles Trevelyan (responsible for famine relief under Peel and Russell), historical texts on the antebellum South, and visits to the historically preserved Jubilee Plantation in Virginia on which the novel’s plantation is based.

A missing colleague. A team in crisis. And a case that refuses to stay buried.

Burnham-on-Sea is supposed to be a quiet stop for Gus Freeman’s team to wrap up a cold case, but the investigation soon spirals into a dark web of interconnected crimes.

As they dig deeper into the murders of Tammie Kenyon and Imogen Henderson, Gus uncovers a network of secrets, a vigilante group and a killer hiding in plain sight. With a colleague missing and their own jobs on the line, the team races to connect the dots before it’s too late.

A Morning Murder is a tense, high-stakes cold-case mystery, perfect for fans of Sally Rigby and Faith Martin.
                                                                                                     
Praise for A Morning Murder:

★ ★ ★ ★ ★ Beautifully written, as always.
★ ★ ★ ★ ★ Excellent.
★ ★ ★ ★ ★ Captivating.
★ ★ ★ ★ ★ A series that causes you to think and analyze.
★ ★ ★ ★ ★ A joyous read.

Winner, 2020 JDC-Herbert Katzki Award for Writing Based on Archival Material, given by the Jewish Book Council

The astonishing story of the efforts of scholars and activists to rescue Jewish cultural treasures after the Holocaust

In March 1946 the American Military Government for Germany established the Offenbach Archival Depot near Frankfurt to store, identify, and restore the huge quantities of Nazi-looted books, archival material, and ritual objects that Army members had found hidden in German caches. These items bore testimony to the cultural genocide that accompanied the Nazis’ systematic acts of mass murder. The depot built a short-lived lieu de memoire—a “mortuary of books,” as the later renowned historian Lucy Dawidowicz called it—with over three million books of Jewish origin coming from nineteen different European countries awaiting restitution.

A Mortuary of Books tells the miraculous story of the many Jewish organizations and individuals who, after the war, sought to recover this looted cultural property and return the millions of treasured objects to their rightful owners. Some of the most outstanding Jewish intellectuals of the twentieth century, including Dawidowicz, Hannah Arendt, Salo W. Baron, and Gershom Scholem, were involved in this herculean effort. This led to the creation of Jewish Cultural Reconstruction Inc., an international body that acted as the Jewish trustee for heirless property in the American Zone and transferred hundreds of thousands of objects from the Depot to the new centers of Jewish life after the Holocaust.

The commitment of these individuals to the restitution of cultural property revealed the importance of cultural objects as symbols of the enduring legacy of those who could not be saved. It also fostered Jewish culture and scholarly life in the postwar world.

Winner, 2020 JDC-Herbert Katzki Award for Writing Based on Archival Material, given by the Jewish Book Council

The astonishing story of the efforts of scholars and activists to rescue Jewish cultural treasures after the Holocaust

In March 1946 the American Military Government for Germany established the Offenbach Archival Depot near Frankfurt to store, identify, and restore the huge quantities of Nazi-looted books, archival material, and ritual objects that Army members had found hidden in German caches. These items bore testimony to the cultural genocide that accompanied the Nazis’ systematic acts of mass murder. The depot built a short-lived lieu de memoire—a “mortuary of books,” as the later renowned historian Lucy Dawidowicz called it—with over three million books of Jewish origin coming from nineteen different European countries awaiting restitution.

A Mortuary of Books tells the miraculous story of the many Jewish organizations and individuals who, after the war, sought to recover this looted cultural property and return the millions of treasured objects to their rightful owners. Some of the most outstanding Jewish intellectuals of the twentieth century, including Dawidowicz, Hannah Arendt, Salo W. Baron, and Gershom Scholem, were involved in this herculean effort. This led to the creation of Jewish Cultural Reconstruction Inc., an international body that acted as the Jewish trustee for heirless property in the American Zone and transferred hundreds of thousands of objects from the Depot to the new centers of Jewish life after the Holocaust.

The commitment of these individuals to the restitution of cultural property revealed the importance of cultural objects as symbols of the enduring legacy of those who could not be saved. It also fostered Jewish culture and scholarly life in the postwar world.

Winner of the NUI Publication Prize in Irish History 2015.

This book examines the phenomenon of infanticide in Ireland from 1850 to 1900, examining a sample of 4,645 individual cases of infant murder, attempted infanticide and concealment of birth. Evidence for this study has been gleaned from a variety of sources, including court documents, coroners' records, prison files, parliamentary papers, and newspapers. Through these sources, many of which are rarely used by scholars, attitudes towards the crime, the women accused of the offence, and the victim, are revealed. Although infant murder was a capital offence during this period, none of the women found guilty of the crime were executed, suggesting a degree of sympathy and understanding towards the accused. Infanticide cases also allude to complex dynamics and tensions between employers and servants, parents and pregnant daughters, judges and defendants, and prison authorities and inmates. This book highlights much about the lived realities of nineteenth-century Ireland.

A shared past. A life-changing secret. Can love find its way back?

1992
For Brodie, happiness feels real for the first time during a summer in Edinburgh with Elora, the woman who changes everything. But, after a devastating betrayal, Elora returns to Greece, leaving behind only a note with two haunting words: Forgive me. Brodie is forced to move on, despite his unanswered questions.

2018
Twenty-six years later, the sudden passing of Brodie's wife leaves him shattered but determined to carry on—he has survived heartbreak before. Then, a chance discovery of a photograph changes everything. Elora, now a bestselling author, is living on a sunlit Greek island. Drawn to her once more after all this time, Brodie embarks on a journey from Edinburgh to the olive groves of Greece, seeking answers and rekindling feelings he thought long buried.

But as the spark between them reignites, Brodie uncovers truths about their shared past that could either heal old wounds or deepen the divide between them forever. To move forward, Elora must summon the courage to confront the secrets that have haunted her for decades. She must find a way to tell Brodie the truth of what happened all those years ago, and hope that forgiveness is still possible.

Set against the backdrop of the stunning Greek islands, A Moth to the Flame is a poignant story of love, betrayal, and the enduring power of second chances. Part of Dougie McHale’s Hellenic Collection, it explores the complexity of relationships, the weight of our choices, and the hope that love can endure against all odds.

___________________________________________________________________

Praise for The Hellenic Collection:

★ ★ ★ ★ ★ A great story, really authentic and heartfelt

★ ★ ★ ★ ★ Devoured this in one sitting couldn't put it down.

★ ★ ★ ★ ★ The settings really come alive and I could even taste the flavour of the food!

★ ★ ★ ★ ★ Great story line and a bit of a twist to it!

★ ★ ★ ★ ★ He makes you feel you know the characters the feelings they have.

★ ★ ★ ★ ★ This is far from a straightforward love story as both characters have skeletons in their cupboards.

Ancient Methods of Healing Bring You Closer to the Other Side

“Dr. Paula Petry shares her extremely personal and fascinating journey in A Mother's Courage to Awaken, a book that, regardless of your personal experiences or beliefs, is bound to resonate with some aspect of your life.” ­– Gloria Estefan

A Mother's Courage to Awaken tells a story about the love and loss of a child―and the healing quest it initiated. On her search for inner peace, professor Paula Petry, PhD looks to re-emerging ancient methods that nurture positive emotional health, mental wellness, and spiritual well-being.

A story about death and resurrection. What does this mean? To nurture a life? And what if that life is your own? When Dr. Petry loses her daughter Alexandra, she looks for ways to connect with loved ones in the afterlife. Along her journey, she encounters a literal and figurative resurrection, a transcendence of time and space, and a life transformed beyond whatever was imagined possible.

Emotional health and mental wellness from the other side. A Mother’s Courage to Awaken confronts grief, love, and loss with holistic practices and alternative health medicine. Inside, you’ll find healing modalities outside of traditional medicine like sound healing, plant medicine, Akashic Records, shamanism, acupuncture, and healing mantras. With these ancient methods and different forms of energy medicine, join Dr. Petry to:

• Re-discover the power of prayer, intention, and the imagination
• Re-direct our thoughts to what we want rather than what we don’t want
• Relinquish the illusion of control

A Mother's Courage to Awaken speaks to women wishing to awaken to their inner truth and power, and readers of Many Lives, Many Masters; Proof of Heaven; Journey of Souls; or What Dreams Have Come.

A trailblazer among American women at the turn of the century, Edith Wharton set out in the newly invented “motor-car” to explore the cities and countryside of France. As the Whartons embark on three separate journeys through the country in 1906 and 1907, accompanied first by Edith’s brother, Harry Jones, and then by Henry James, Edith is enamored by the freedom that this new form of transport has given her. With a keen eye for architecture and art, and the engrossing style that would later earn her a Pulitzer Prize in fiction, Wharton writes about places that she previously “yearned for from the windows of the train.”

Including photographs reproduced directly from the 1908 first edition, and newly introduced by acclaimed travel writer Lavinia Spalding, the Restless Books edition of A Motor-Flight Through France will inspire current and future generations of readers and adventurers.

Questions the treatment of laboratory animals in biomedical research

Laboratory animals are often used to develop medical treatments: vaccines, antibiotics, and organ transplants have all relied upon animal testing to ensure safety and success for human benefit. Yet the relationship between the scientific community's dependence on laboratory animals and the recognition of the need to treat these animals with respect and compassion has given rise to a profound tension.
As animals are increasingly understood to have rights and autonomy, Carrie Friese posits that, while care and compassion for a distant other who suffers are central to humanitarianism, the idea of a distant other itself, which has shaped work with laboratory animals both historically and today, has enacted forms of highly problematic paternalism, creating a double bind. Focusing on the lives of laboratory mice and rats in the United Kingdom, and on the people who take care of, and often kill, these animals, Friese gives the name of “more-than-human humanitarianism” to contradictory practices of suffering and compassion, killing and sacrifice, and compassion and consent that she witnessed in a variety of animal facilities and laboratories.

Friese proposes a new approach to the treatment of laboratory animals that recognizes the interconnectedness of all species and how human actions impact the welfare of other species and the planet as a whole. A Mouse in a Cage is an essential contribution to the ongoing conversation about the ethical treatment of animals.

Questions the treatment of laboratory animals in biomedical research

Laboratory animals are often used to develop medical treatments: vaccines, antibiotics, and organ transplants have all relied upon animal testing to ensure safety and success for human benefit. Yet the relationship between the scientific community's dependence on laboratory animals and the recognition of the need to treat these animals with respect and compassion has given rise to a profound tension.
As animals are increasingly understood to have rights and autonomy, Carrie Friese posits that, while care and compassion for a distant other who suffers are central to humanitarianism, the idea of a distant other itself, which has shaped work with laboratory animals both historically and today, has enacted forms of highly problematic paternalism, creating a double bind. Focusing on the lives of laboratory mice and rats in the United Kingdom, and on the people who take care of, and often kill, these animals, Friese gives the name of “more-than-human humanitarianism” to contradictory practices of suffering and compassion, killing and sacrifice, and compassion and consent that she witnessed in a variety of animal facilities and laboratories.

Friese proposes a new approach to the treatment of laboratory animals that recognizes the interconnectedness of all species and how human actions impact the welfare of other species and the planet as a whole. A Mouse in a Cage is an essential contribution to the ongoing conversation about the ethical treatment of animals.

Questions the treatment of laboratory animals in biomedical research

Laboratory animals are often used to develop medical treatments: vaccines, antibiotics, and organ transplants have all relied upon animal testing to ensure safety and success for human benefit. Yet the relationship between the scientific community's dependence on laboratory animals and the recognition of the need to treat these animals with respect and compassion has given rise to a profound tension.
As animals are increasingly understood to have rights and autonomy, Carrie Friese posits that, while care and compassion for a distant other who suffers are central to humanitarianism, the idea of a distant other itself, which has shaped work with laboratory animals both historically and today, has enacted forms of highly problematic paternalism, creating a double bind. Focusing on the lives of laboratory mice and rats in the United Kingdom, and on the people who take care of, and often kill, these animals, Friese gives the name of “more-than-human humanitarianism” to contradictory practices of suffering and compassion, killing and sacrifice, and compassion and consent that she witnessed in a variety of animal facilities and laboratories.

Friese proposes a new approach to the treatment of laboratory animals that recognizes the interconnectedness of all species and how human actions impact the welfare of other species and the planet as a whole. A Mouse in a Cage is an essential contribution to the ongoing conversation about the ethical treatment of animals.

Questions the treatment of laboratory animals in biomedical research

Laboratory animals are often used to develop medical treatments: vaccines, antibiotics, and organ transplants have all relied upon animal testing to ensure safety and success for human benefit. Yet the relationship between the scientific community's dependence on laboratory animals and the recognition of the need to treat these animals with respect and compassion has given rise to a profound tension.
As animals are increasingly understood to have rights and autonomy, Carrie Friese posits that, while care and compassion for a distant other who suffers are central to humanitarianism, the idea of a distant other itself, which has shaped work with laboratory animals both historically and today, has enacted forms of highly problematic paternalism, creating a double bind. Focusing on the lives of laboratory mice and rats in the United Kingdom, and on the people who take care of, and often kill, these animals, Friese gives the name of “more-than-human humanitarianism” to contradictory practices of suffering and compassion, killing and sacrifice, and compassion and consent that she witnessed in a variety of animal facilities and laboratories.

Friese proposes a new approach to the treatment of laboratory animals that recognizes the interconnectedness of all species and how human actions impact the welfare of other species and the planet as a whole. A Mouse in a Cage is an essential contribution to the ongoing conversation about the ethical treatment of animals.

#1 Indie Bestseller

The Nile brought them life, but the Nile was not their friend.

A small farming village in North Sudan wakes up one morning to the news that a little boy has drowned. Soon after, the animals die of a mysterious illness and the date gardens catch fire and burn to the ground. The villagers whisper of a sorceress who dwells at the foot of the mountains. It is the dry season. The men have places to go, the women have work to do, the children play at the place where the river runs over its own banks. Sixteen-year-old Fatima yearns to leave the village for Khartoum.

In Khartoum, a single mother makes her way in a world that wants to keep girls and women back. As civil war swells, the political intrudes into the personal and her position in the capital becomes untenable. She must return to the village.

A Mouth Full of Salt uncovers a country on the brink of seismic change as its women decide for themselves which traditions are fit for purpose – and which prophecies it’s time to rewrite.

Under the tenet shared by Hornstein and Kayne that rules of construal need to be recaptured by the operation Move, this book aims to construct a movement theory of anaphora according to which anaphoric relations are established through movement of pro. This theory has significant theoretical implications for reconstruction effects and pro-drop phenomena. It has brought binding theory into the realm of the Minimalist Program.

Starting in the 1970s, Palestinian theater flourished as part of a Palestinian cultural spring. In the absence of local radio, television, and uncensored journalism, theater production became the leading form of artistic expression, and Palestinian theater artists self-identified as a movement. Although resistance was not their sole function, these theater makers contributed to an active cultural resistance front. With this book, Samer Al-Saber tells the story of the Palestinian Theater Movement over nearly three decades, as they created plays and productions that articulated versions of Palestinian identity, critiqued social norms, celebrated and extended Palestinian cultural values, and challenged the power disparity created by the Occupation.

  The struggles between Palestinian theater artists and Israeli authorities form the central relationships in this history. Al-Saber juxtaposes the agency of Palestinian theater artists, in their determination to perform against immense challenges, with the power of Israeli authorities to grant or deny permission to theatrical productions. The legal structure of institutionalized censorship prevented Palestinian artists from expressing their chosen message, and the theater movement's search for permission to perform illuminates the disparity in power between the occupier and the occupied. In writing the first history of the Palestinian Theater Movement, Al-Saber amplifies necessary voices in this Palestinian cultural history, told from below.

Starting in the 1970s, Palestinian theater flourished as part of a Palestinian cultural spring. In the absence of local radio, television, and uncensored journalism, theater production became the leading form of artistic expression, and Palestinian theater artists self-identified as a movement. Although resistance was not their sole function, these theater makers contributed to an active cultural resistance front. With this book, Samer Al-Saber tells the story of the Palestinian Theater Movement over nearly three decades, as they created plays and productions that articulated versions of Palestinian identity, critiqued social norms, celebrated and extended Palestinian cultural values, and challenged the power disparity created by the Occupation.

  The struggles between Palestinian theater artists and Israeli authorities form the central relationships in this history. Al-Saber juxtaposes the agency of Palestinian theater artists, in their determination to perform against immense challenges, with the power of Israeli authorities to grant or deny permission to theatrical productions. The legal structure of institutionalized censorship prevented Palestinian artists from expressing their chosen message, and the theater movement's search for permission to perform illuminates the disparity in power between the occupier and the occupied. In writing the first history of the Palestinian Theater Movement, Al-Saber amplifies necessary voices in this Palestinian cultural history, told from below.

Italy’s northern border follows the watershed that separates the drainage basins of Northern and Southern Europe. Running mostly at high altitudes, it crosses snowfields and perennial glaciers—all of which are now melting as a result of anthropogenic climate change. As the watershed shifts so does the border, contradicting its representations on official maps. Italy, Austria, and Switzerland have consequently introduced the novel legal concept of a “moving border,” one that acknowledges the volatility of geographical features once thought to be stable.

A Moving Border: Alpine Cartographies of Climate Change builds upon the Italian Limes project by Studio Folder, which was devised in 2014 to survey the fluctuations of the boundary line across the Alps in real time. The book charts the effects of climate change on geopolitical understandings of border and the cartographic methods used to represent them. Locating the Italian condition alongside a longer political history of boundary making, the book brings together critical essays, visualizations, and unpublished documents from state archives. By examining the nexus of nationalism and cartography, A Moving Border details how borders are both material and imagined, and the ways global warming challenges Western conceptions of territory. Even more, it provides a blueprint for spatial intervention in a world where ecological processes are bound to dominate geopolitical affairs.

A Moving Border features a foreword by Bruno Latour and texts by Stuart Elden, Mia Fuller, Francesca Hughes, and Wu Ming 1, and is co-published with ZKM | Center for Art and Media, Karlsruhe.

Winner of the Goldberg Family Foundation Award 2021

What is the meaning of the Jewish rites of initiation known as “bar and bat mitzvah” in the modern age, when the concept of “mitzvah” (religious precept or obligation) means so little to most Jewish adolescents?

Hizky Shoham offers a comprehensive anthropological history of the bar and bat mitzvah ceremonies that seeks to understand why not only have these ceremonies been preserved, but are in fact celebrated by more Jewish families and demand greater financial, psychological, and family resources than ever before. The book maps and analyzes the transformation of the rituals in the modern age and endeavors to understand their meanings for the celebrants and other participants in the diverse historical contexts in which the ceremony appeared. Is it indeed a rite of initiation?

The book breaks new ground by placing the rise of the bar and bat mitzvah in the context of the general rise during the modern industrial age of a new system of life-cycle rituals: rituals that mark the passing of time by latching on to its artificial, conventional milestones. The child’s 12^th or 13^th birthday functions as a temporal landmark in a personal biography that would otherwise move through homogeneous time.

'The earth is the Lord's' (Ps.24:1). God states that He is the rightful owner of the earth and everything in it. God wants people to enjoy material things - but God must be the centre of our lives.

Christ's radical call to his followers includes the call to let him drive our economic and business life. This means letting God's justice rule all our economic relationships: treating people rightly; a constant seeking of justice for, especially, the poor and needy; working so that all participate in God's blessings, including material blessings.

In Part 1, Andrew Hartropp looks at how Christ's followers are to do justice in our economic relationships: as individuals, as households, in the workplace and as church communities.

Then, moving outward (in concentric circles), Part 2 shows how Jesus's disciples can do justice in and through secular institutions, including companies and firms, banks and other financial institutions, then government institutions, and then in the international/global context.

The epilogue is on the glorious vision of God's everlasting kingdom, which both drives us and also keeps our efforts now in proper perspective.

In A Mucky Business, Tim Farron, former Leader of the Liberal Democrats Party and friends, explore and defend why Christianity and politics should and must work together. If Christians are to love their neighbours, they need to engage with the issues that affect everyone. Why should Christians leave their beliefs at the door when they enter public life? No one else does!

Tim Farron shares his experience as the UK’s best known Christian MP and draws on case studies from across the political spectrum. Many of these case studies come from his successful A Mucky Business podcast. Demonstrating that it’s possible to be both a Christian and to step into the political world with confidence.

A Mucky Business will both inspired and better equip christians to care about politics, pray knowledgeably, and engage with politics effectively.

This book presents a new extended framework for the study of early multicompetence. It proposes a concept of multilingual competences as a valuable educational target, and a view of the multilingual learner as a competent language user. The thematic focus is on multilingual skill development in primary schoolers in the trilingual province of South Tyrol, northern Italy. A wide range of topics pertaining to multicompetence building and the special affordances of multilingual pedagogy are explored. Key concepts like language proficiency, native-speakerism, or monolingual classroom bias are subjected to critical analysis.

The corpus-based approach to humor offers innovative and more than plausible objectives, supported by sound arguments, which underline the need to analyze humor both verbally and non-verbally.

The cognitive linguistic account of humor sets to analyze a corpus of humorous meanings in interaction and to present the elements that help to create the humorous effects: common ground, intersubjectivity, facial expressions, speakers' attitude, etc. The large corpus of examples annotated in ELAN offers a much-needed multimodal perspective of humor, which encompasses all the different techniques used by speakers.

The present analysis offers inspiring insight for future research, in different fields of study: multimodality, humor, and psycholinguistics. The study reveals the need of analyzing both verbal and non-verbal elements in discourse in general and humor in particular as co-speech gestures are essential for the understanding of the message as intended by the speakers.

A dangerous game of ancient power will push the last raven to the edge of his limits in the fifth installment of this hardboiled fantasy noir series.

Lucas Rurik is used to being on the bad end of a terrible deal. He’s survived wars, seen his entire Guild murdered, and saved reality from certain doom more times than he’d care to count. But none of that has prepared him for the mess he’s currently in.

It seems his nemesis, Dr. Callie Mitchell, has tapped into the deepest magic in the Rift and destroyed an Ancient: one of the oldest rift-fused beings, tasked with ensuring the balance of power in the universe. No one knows what she’ll do next, and the surviving Ancients seem too distracted by their petty squabbles to take matters into their own all-powerful hands. So it’s once again up to Lucas to poke his nose where it doesn’t belong and attempt to negotiate with beings that most definitely don’t want to be reasoned with.

The clock is ticking, and Lucas will have to tap alliances and use every trick he has up his sleeve to stop a cosmically mighty madwoman on a mission. And time isn’t the only thing working against him. The secrets he uncovers could spell the undoing of everything, both on Earth and in the Rift . . .

A fast-paced, character-driven, quick-quipping tale from the bestselling author of the Hellequin novels, Riftborn is perfect for fans of Lucifer, The Witcher, and the Dresden Files.

Praise for The Last Raven

“McHugh’s pithy prose energizes the narrative, even when there’s no superpower on display, and builds intrigue with gradual reveals of Lucas’ rift-derived skills and backstory. This slick introductory supernatural tale will leave readers eager for a sequel.” —Kirkus Reviews

“The Last Raven has the appeal of a great action movie. There is a nice mystery, a compelling lead, strong support, and enough adrenaline to leave you with a pleasant high afterward. . . . Eagerly looking forward to the next installment.” —The Cosmic Circus

“If you have a friend who loves both speculative fiction novels and thrillers, this is the perfect gift.” —Medium, “10 Chilling Books for Mystery/Thriller Lovers This Winter”

A police procedural, a meditation on suffering and an exploration into the human condition.

In 2004, the body of a young Perth woman was found on the grounds of a primary school. Her name was Rebecca Ryle. The killing would mystify investigators, lawyers, and psychologists—and profoundly rearrange the life of the victim's family.

It would also involve the author's family, because his brother knew the man charged with the murder. For years, the two had circled each other suspiciously, in a world of violence, drugs, and rotten aspirations.

A Murder Without Motive is a police procedural, a meditation on suffering, and an exploration of how the different parts of the justice system make sense of the senseless. It is also a unique memoir: a mapping of the suburbs that the author grew up in, and a revelation of the dangerous underbelly of adolescent ennui.