Radcliffe Prep è la terza scuola più infestata del Paese, dove la scomparsa di uno studente non è cosa rara e nessuno osa restare in biblioteca dopo il tramonto. Este Logano si iscrive con la speranza di ritrovare il padre morto. Non letteralmente, ovvio, ma frequentare la sua stessa scuola sembra essere la migliore speranza di capire chi fosse. Qui incontra Mateo, che, a quanto pare, è un fantasma a tutti gli effetti. E per di più uno di quelli fastidiosi e irritanti da morire. Quando coinvolge Este nel furto di un libro raro dalla torre segreta della biblioteca per poi sparire, lei dovrà rintracciarlo per non essere espulsa dalla Radcliffe prima di aver trovato le risposte che stava cercando. Ma seguire le orme del padre potrebbe rivelarsi più pericoloso di quanto avesse previsto. Mentre indaga sui passaggi segreti, i tunnel nascosti e le sale infestate della biblioteca, scopre che le sparizioni degli studenti non sono solo una leggenda. E la prossima vittima potrebbe essere lei stessa.

Edited and introduced by leading cultural and theatre critic Aleks Sierz, this bold and urgent collection of contemporary plays by England's newest and most relevant young writers explores the various cultures and identities of a nation that is at once traditional, nationalistic and multicultural.

Eden's Empire, by James Graham is an uncompromising political thriller exploring the events of the Suez Crisis, and the tragic story of its flawed hero - Churchill's golden boy and heir apparent, Anthony Eden.

Alaska, by D. C. Moore features Frank, an ordinary bloke who likes smoking, history and playing House of the Dead 3. He can put up with his job on a cinema kiosk until a new supervisor arrives who is younger than him. And Asian.

A Day at the Racists, by Anders Lustgarten is a timely examination of the rise of the BNP which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction.

Shades, by Alia Bano shows Sabrina, a single girl-about-town, who is seeking Mr Right in a world where traditional and liberal values sit side-by-side, but rarely see eye-to-eye.

The Westbridge, by Rachel De-lahay begins with the accusation of a black teenager which sparks riots on South London streets. Among it all, a couple from very different backgrounds navigate the minefield between them and their disparate but coexisting neighbourhood.

“It is a shameful thing to win a war.” The reliably unorthodox Curzio Malaparte’s own service as an Italian liaison officer with the Allies during the invasion of Italy was the basis for this searing and surreal novel, in which the contradictions inherent in any attempt to simultaneously conquer and liberate a people beset the triumphant but ingenuous American forces as they make their way up the peninsula.

Malaparte’s account begins in occupied Naples, where veterans of the disbanded and humiliated Italian army beg for work, and ceremonial dinners for high Allied officers or important politicians feature the last remaining sea creatures in the city’s famous aquarium. He leads the American Fifth Army along the Via Appia Antica into Rome, where the celebrations of a vast, joy-maddened crowd are only temporarily interrupted when one well-wisher slips beneath the tread of a Sherman tank. As the Allied advance continues north to Florence and Milan, the civil war intensifies, provoking in the author equal abhorrence for killing fellow Italians and for the “heroes of tomorrow,” those who will come out of hiding to shout “Long live liberty” as soon as the Germans are chased away.

Like Céline, another anarchic satirist and disillusioned veteran of two world wars, Malaparte paints his compatriots as in a fun-house mirror that yet speaks the truth, creating terrifying, grotesque, and often darkly comic scenes that will not soon be forgotten. Unlike the French writer however, he does so in the characteristically sophisticated, lush, yet unsentimental prose that was as responsible for his fame as was his surprising political trajectory. The Skin was condemned by the Roman Catholic Church, and placed on the Index Librorum Prohibitorum.

This oversized, deluxe volume celebrating the exquisite spectacle that embodies the excellence of American Ballet Theatre, recognized by Congress as 'America's national ballet company,' presents the unfolding beauty, grace, agility, and sheer force of its most recent productions. For over sixty-five years, the dance company has awed fans and critics with its magnificent theatrical repertoire. Distinguished photographer Nancy Ellison depicts such enduring ballet classics as Romeo and Juliet, Swan Lake, and Giselle, and captures the virtuosity of such unforgettable dancers as Angel Corella, Nina Ananiashvili, Alessandra Ferri, Julio Bocca, and Ethan Stiefel. ABT's Artistic Director, Kevin McKenzie, and Executive Director, Rachel S. Moore, have contributed illuminating essays about this preeminent company. The combination of dynamic bravura dancing in dreamlike settings will be a sheer delight to ballet lovers everywhere.

In his 1971 short film, (nostalgia), American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph's combustion; smoke and ashes get in our eyes while we are trying to make sense of the image and the narration--trying to remember the story that fits the image, trying to remember the image that fits the story...Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history--when (nostalgia) confirmed both the essence and fragility of cinema itself.Afterall Books are distributed by The MIT Press.

Nastasi (Institute for Community Research) challenges school psychologists to think broadly about how to best use their training and skills to empower individuals, schools, and communities, and describes a model for participatory culture-specific intervention that is grounded in theories and techniques of applied cultural anthropology and school psychology. She urges readers to choose programs that are effective through sensitive adaptation and modification on the basis of ethnicity, race, and culture of local schools and communities. Annotation ©2004 Book News, Inc., Portland, OR (booknews.com)