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This masterpiece of science (and mathematical) fiction is a delightfully unique and highly entertaining satire that has charmed readers for more than 100 years. The work of English clergyman, educator and Shakespearean scholar Edwin A. Abbott (1838-1926), it describes the journeys of A. Square [sic – ed.], a mathematician and resident of the two-dimensional Flatland, where women-thin, straight lines-are the lowliest of shapes, and where men may have any number of sides, depending on their social status.Through strange occurrences that bring him into contact with a host of geometric forms, Square has adventures in Spaceland (three dimensions), Lineland (one dimension) and Pointland (no dimensions) and ultimately entertains thoughts of visiting a land of four dimensions—a revolutionary idea for which he is returned to his two-dimensional world. Charmingly illustrated by the author, Flatland is not only fascinating reading, it is still a first-rate fictional introduction to the concept of the multiple dimensions of space. "Instructive, entertaining, and stimulating to the imagination." — Mathematics Teacher.

In The Critic as Artist , arguably the most complete exploration of his aesthetic thinking, and certainly the most entertaining, Oscar Wilde harnesses his famous wit to demolish the supposed boundary between art and criticism. Subtitled Upon the Importance of Doing Nothing and Discussing Everything , the essay takes the form of a leisurely dialogue between two Ernest, who insists upon Wilde’s own belief in art’s freedom from societal mandates and values, and a quizzical Gilbert. With his playwright’s ear for dialogue, Wilde champions idleness and contemplation as prerequisites to artistic cultivation. Beyond the well-known dictum of art for art’s sake, Wilde’s originality lays argument for the equality of criticism and art. For him, criticism is not subject to the work of art, but can in fact precede the artist cannot create without engaging his or her critical faculties first. And, as Wilde writes, “To the critic the work of art is simply a suggestion for a new work of his own.” The field of art and criticism should be open to the free play of the mind, but Wilde plays seriously, even prophetically. Writing in 1891, he foresaw that criticism would have an increasingly important role as the need to make sense of what we see increases with the complexities of modern life. It is only the fine perception and explication of beauty, Wilde suggests, that will allow us to create meaning, joy, empathy, and peace out of the chaos of facts and reality.

An exhilarating, darkly comic debut novel about a do-gooder whose world is turned inside out when his new roommate—who might be possessed by the devil—moves in         Simon has always been a good guy, a charmer. He’s consistently employee of the month at his bougie restaurant job, neurotically tidy, and generally tries to do right by everyone. And his dark parts? He keeps those well-hidden. But when his best and only friend Josh moves out of their shared apartment, Simon’s world starts to fall apart when his new roommate Massimo moves in. Because Massimo has brought something—or someone—with him. He might just turn out to the be the roommate from hell . . .          Strange things start to happen. Weird noises come from Massimo’s room, smells of earth and spoiled meat drift through the halls, lights flicker, and Simon’s nights fill with disturbing and alluring dreams. Meanwhile, across the city, murders are being committed, bodies torn apart from the inside. Massimo and whatever he’s unleashed begin to awaken Simon’s wild and exciting and horrifying inner self. Whatever this new friend is could be the end of Simon—or a completely new beginning.         At once a visceral, unhinged, and comic novel about the roommate generation, He’s the Devil is a tantalizing literary thriller exploring possession and obsession, friendship and betrayal. Tobi Coventry’s debut is propulsive, funny, and touching, marking the arrival of a bold new literary imagination.

"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart)The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged. Each volume features:* Authoritative, reliable texts* High quality introductions and notes* New, more readable trade trim size* An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know. “THE BOOK OF WILL…unequivocally announces Gunderson as a playwright with whom to be reckoned. It is, quite frankly, one of the best plays I have ever seen. It will bring tears of both laughter and sorrow to all but the most jaded audience member’s eyes. It is, in a word, a triumph.” —Boulder Weekly (CO). “[Gunderson] has peopled the stage with lively, historically based characters…She paints a vivid portrait of the times in language sometimes formal, sometimes poetic and often…contemporary…She also gives a real feel for theater life and what it means to be an actor; you sense this is a work of both scholarship and love. …[THE BOOK OF WILL] serves as homage to those who sacrificed to make the first folio happen and to Shakespeare’s magnificent words.” —Westword (Denver, CO).

Who knew that being in the leisure class required so much work? Y. Euny Hong's Kept is a brilliant, wickedly funny tale that examines sexuality, class, and family ties among the bright young things of Manhattan. Judith Lee, an entitled descendant of the Korean royal family, has grown quite accustomed to the privileges of the aristocracy. Unfortunately for her, royal descent does not equal money. Her family lost their fortune long ago, and when her parents add insult to injury by cutting off her allowance upon her graduation from Yale, Jude (as she is known) learns the hard way that her fancy upbringing has left her unprepared to deal with her monstrous debts. As she hobnobs in New York with her clever, wellborn friends, she is introduced to Madame Tartakov, a charismatic Russian émigré, who has the solution for Jude's financial woes. The catch: Jude must put in two years at "Tartakov's Translation Services" -- a front organization for the flock of high society girls, collected from all over the world, who now work as Manhattan's most coveted courtesans. Jude's taste of the good life convinces her that she's right at home in Madame Tartakov's luxurious Upper East Side townhouse. She has finally found a job that uses the unique skills of a blue blood, and she is quite taken by the fiery classical violinist who pays for her "companionship" -- that is, until she finds herself irresistibly drawn to Joshua Spinoza, a penniless philosophy student who has a stutter and poor taste in wine, and who leaves the opera at intermission because he thinks it is over. Dark forces begin to test Jude's already limited moral fiber when she discovers not only that she is falling in love outside her clientele, but that an illegitimate relative is harboring a grotesque secret and something catastrophic is hidden in the family archives. Ultimately, Jude is forced to take a good, long look in her warped antique Tiffany mirror. Is being born into a world of privilege a gift? Can bad things really happen to blue bloods? And perhaps more startlingly: are courtesans nothing more than prostitutes in Prada? Revelatory and voyeuristic, sexy and sophisticated, Kept is the thoroughly accomplished debut of a gifted newcomer who writes like a present-day Jane Austen.