ONE OF THE OBSERVER'S BEST MEMOIRS OF 2021 AND THE TIMES' BEST FILM AND THEATRE BOOKS OF THE YEAR.'As a Black British man I believe it is vital that I tell this story. It may be just one account from the perspective of a person of colour who has experienced this system, but it may be enough to potentially change an opinion or, more importantly, stop someone else from spinning completely out of control.' – David HarewoodIs it possible to be Black and British and feel welcome and whole?Maybe I Don't Belong Here is a deeply personal exploration of the duality of growing up both Black and British, recovery from crisis and a rallying cry to examine the systems and biases that continue to shape our society.In this powerful and provocative account of a life lived after psychosis, critically acclaimed actor, David Harewood, uncovers devastating family history and investigates the very real impact of racism on Black mental health.When David Harewood was twenty-three, his acting career beginning to take flight, he had what he now understands to be a psychotic breakdown and was sectioned under the Mental Health Act. He was physically restrained by six police officers, sedated, then hospitalized and transferred to a locked ward. Only now, thirty years later, has he been able to process what he went through.What was it that caused this breakdown and how did David recover to become a successful and critically acclaimed actor? How did his experiences growing up Black and British contribute to a rupture in his sense of his place in the world?'Such a powerful and necessary read . . . Don't wait until Black History Month to pick up this book, it's a must-read just now.' - Candice Brathwaite, author of I Am Not Your Baby Mother'David Harewood writes with rare honesty and fearless self-analysis about his experiences of racism and what ultimately led to his descent into psychosis . . . This book is, in itself, a physical manifestation of that hopeful journey.' - David Olusoga, author of Black and British

Is evil evidence against the existence of God? Even if God and evil are compatible, it remains hotly contested whether evil renders belief in God unreasonable. The Evidential Argument from Evil presents five classic statements on this issue by eminent philosophers and theologians and places them in dialogue with eleven original essays reflecting new thinking by these and other scholars. The volume focuses on two versions of the argument. The first affirms that there is no reason for God to permit either certain specific horrors or the variety and profusion of undeserved suffering. The second asserts that pleasure and pain, given their biological role, are better explained by hypotheses other than theism.Contributors include William P. Alston, Paul Draper, Richard M. Gale, Daniel Howard-Snyder, Alvin Plantinga, William L. Rowe, Bruce Russell, Eleonore Stump, Richard G. Swinburne, Peter van Inwagen, and Stephen John Wykstra.

"A whole generation of Korean immigrants and their American born children could have lived and died in the United States without anyone knowing they had been here. I could not let that happen" --Kim Ronyoung Clay Walls weaves the complex threads of Korean culture into the tapestry of American society while telling the story of the early Korean immigrants, who arrived in Los Angeles in the decade prior to World War II, and of their American born children. Haesu, a yangban of the nobility class, is betrothed against her wishes to Chun, a farmer's son. Bound not by love, but by tradition, she follows him to America where they begin their life together. Born in a land where class defines one s status, Haesu s rank in the United States is acknowledged only by her fellow Koreans. Servility is anathema to her and she fiercely resists the slights she experiences in California. Chun, on the other hand, embodies the Taoist mentality. "If you want muddy waters to become clear, you have to lie still," he tells Haesu. He seeks no affirmation of his worth from strangers, wanting it only from his resentful wife. These two irreconcilable strains of Eastern tradition, personified in Heasu and Chun, are rerated as one by a disinterested America which fails to distinguish one Asian immigrant from another. Within the walls of their home, however, the Chuns wage unrelenting war over their differences. It remains for their children, born in the United States, to integrate these conflicts and, ultimately, find their place in the New World.

"A whole generation of Korean immigrants and their American born children could have lived and died in the United States without anyone knowing they had been here. I could not let that happen" --Kim Ronyoung Clay Walls weaves the complex threads of Korean culture into the tapestry of American society while telling the story of the early Korean immigrants, who arrived in Los Angeles in the decade prior to World War II, and of their American born children. Haesu, a yangban of the nobility class, is betrothed against her wishes to Chun, a farmer's son. Bound not by love, but by tradition, she follows him to America where they begin their life together. Born in a land where class defines one s status, Haesu s rank in the United States is acknowledged only by her fellow Koreans. Servility is anathema to her and she fiercely resists the slights she experiences in California. Chun, on the other hand, embodies the Taoist mentality. "If you want muddy waters to become clear, you have to lie still," he tells Haesu. He seeks no affirmation of his worth from strangers, wanting it only from his resentful wife. These two irreconcilable strains of Eastern tradition, personified in Heasu and Chun, are rerated as one by a disinterested America which fails to distinguish one Asian immigrant from another. Within the walls of their home, however, the Chuns wage unrelenting war over their differences. It remains for their children, born in the United States, to integrate these conflicts and, ultimately, find their place in the New World.

From the nationally bestselling author of the “powerful, heartbreaking” (Shelf Awareness) The Stationery Shop, a heartfelt, epic new novel of friendship, betrayal, and redemption set against three transformative decades in Tehran, Iran. In 1950s Tehran, seven-year-old Ellie lives in grand comfort until the untimely death of her father, forcing Ellie and her mother to move to a tiny home downtown. Lonely and bearing the brunt of her mother’s endless grievances, Ellie dreams of a friend to alleviate her isolation. Luckily, on the first day of school, she meets Homa, a kind, passionate girl with a brave and irrepressible spirit. Together, the two girls play games, learn to cook in the stone kitchen of Homa’s warm home, wander through the colorful stalls of the Grand Bazaar, and share their ambitions for becoming “lion women.” But their happiness is disrupted when Ellie and her mother are afforded the opportunity to return to their previous bourgeois life. Now a popular student at the best girls’ high school in Iran, Ellie’s memories of Homa begin to fade. Years later, however, her sudden reappearance in Ellie’s privileged world alters the course of both of their lives. Together, the two young women come of age and pursue their own goals for meaningful futures. But as the political turmoil in Iran builds to a breaking point, one earth-shattering betrayal will have enormous consequences. Written with Marjan Kamali’s signature “evocative, devastating, and hauntingly beautiful” (Whitney Scharer, author of The Age of Light) prose, The Lion Women of Tehran is a sweeping exploration of how profoundly we are shaped by those we meet when we are young, and the way love and courage transforms our lives.