Jordan

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Husain Kothari

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Loughlin Sullivan

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An acclaimed bestseller and international sensation, Patrick Suskind's classic novel provokes a terrifying examination of what happens when one man's indulgence in his greatest passion—his sense of smell—leads to murder.In the slums of eighteenth-century France, the infant Jean-Baptiste Grenouille is born with one sublime gift—an absolute sense of smell. As a boy, he lives to decipher the odors of Paris, and apprentices himself to a prominent perfumer who teaches him the ancient art of mixing precious oils and herbs. But Grenouille's genius is such that he is not satisfied to stop there, and he becomes obsessed with capturing the smells of objects such as brass doorknobs and fresh-cut wood. Then one day he catches a hint of a scent that will drive him on an ever-more-terrifying quest to create the "ultimate perfume"—the scent of a beautiful young virgin. Told with dazzling narrative brilliance, Perfume is a hauntingly powerful tale of murder and sensual depravity.

A powerful and provocative argument on the role that race and racism play in modern Britain, by award-winning journalist Reni Eddo-Lodge\
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In February 2014, Reni Eddo-Lodge wrote about her frustration with the way discussions of race and racism in Britain were constantly being led by those who weren't affected by it. She posted the piece on her blog, and gave it the title: 'Why I'm No Longer Talking to White People about Race'.  Her powerful, passionate words hit a nerve. The post went viral, and comments flooded in from others desperate to speak up about their own, similar experiences. Galvanised by this response, she decided to dig into the source of these feelings; this clear hunger for an open discussion. The result is a searing, illuminating, absolutely necessary exploration of what it is to be a person of colour in Britain today. Exploring issues from eradicated black history to the political purpose of white dominance, whitewashed feminism to the inextricable link between class and race, Reni Eddo-Lodge offers a new framework for how to see, acknowledge and counter racism.  Full of clear, bold and keenly felt argument, Why I'm No Longer Talking to White People about Race is a wake-up call to a nation in denial about the structural and institutional racism occurring at its heart. It is a timely, essential book by a vital new voice.

In layered prose and with thoughtful, accessible scholarship, Aslan narrates the history of religion as a remarkably cohesive attempt to understand the divine by giving it human traits and emotions. According to Aslan, this innate desire to humanize God is hardwired in our brains, making it a central feature of nearly every religious tradition. As Aslan writes, “Whether we are aware of it or not, and regardless of whether we’re believers or not, what the vast majority of us think about when we think about God is a divine version of ourselves.” But this projection is not without consequences. We bestow upon God not just all that is good in human nature — our compassion, our thirst for justice — but all that is bad in it: our greed, our bigotry, our penchant for violence. All these qualities inform our religions, cultures, and governments. More than just a history of our understanding of God, this book is an attempt to get to the root of this humanizing impulse in order to develop a more universal spirituality. Whether you believe in one God, many gods, or no god at all, God: A Human History will challenge the way you think about the divine and its role in our everyday lives.

That The Illustrated Man has remained in print since being published in 1951 is fair testimony to the universal appeal of Ray Bradbury's work. Only his second collection (the first was Dark Carnival, later reworked into The October Country), it is a marvelous, if mostly dark, quilt of science fiction, fantasy, and horror. In an ingenious framework to open and close the book, Bradbury presents himself as a nameless narrator who meets the Illustrated Man--a wanderer whose entire body is a living canvas of exotic tattoos. What's even more remarkable, and increasingly disturbing, is that the illustrations are themselves magically alive, and each proceeds to unfold its own story, such as "The Veldt," wherein rowdy children take a game of virtual reality way over the edge. Or "Kaleidoscope," a heartbreaking portrait of stranded astronauts about to reenter our atmosphere--without the benefit of a spaceship. Or "Zero Hour," in which invading aliens have discovered a most logical ally--our own children. Even though most were written in the 1940s and 1950s, these 18 classic stories will be just as chillingly effective 50 years from now. --Stanley WiaterContents:· Prologue: The Illustrated Man · ss * · The Veldt [“The World the Children Made”] · ss The Saturday Evening Post Sep 23 ’50 · Kaleidoscope · ss Thrilling Wonder Stories Oct ’49 · The Other Foot · ss New Story Magazine Mar ’51 · The Highway [as by Leonard Spalding] · ss Copy Spr ’50 · The Man · ss Thrilling Wonder Stories Feb ’49 · The Long Rain [“Death-by-Rain”] · ss Planet Stories Sum ’50 · The Rocket Man · ss Maclean’s Mar 1 ’51 · The Fire Balloons [“‘In This Sign...’”] · ss Imagination Apr ’51 · The Last Night of the World · ss Esquire Feb ’51 · The Exiles [“The Mad Wizards of Mars”] · ss Maclean’s Sep 15 ’49; F&amp;SF Win ’50 · No Particular Night or Morning · ss * · The Fox and the Forest [“To the Future”] · ss Colliers May 13 ’50 · The Visitor · ss Startling Stories Nov ’48 · The Concrete Mixer · ss Thrilling Wonder Stories Apr ’49 · Marionettes, Inc. [Marionettes, Inc.] · ss Startling Stories Mar ’49 · The City [“Purpose”] · ss Startling Stories Jul ’50 · Zero Hour · ss Planet Stories Fll ’47 · The Rocket [“Outcast of the Stars”] · ss Super Science Stories Mar ’50 · Epilogue · aw *

New to the series, the Sims display a range of emotions which influence your variety of decisions in the game. Emotions give you new choices that impact your Si...

When 8 friends become trapped on a remote mountain getaway gone wrong, things quickly turn sinister and they start to suspect they aren’t alone. Gripped by fe...

Eve is a bored, whip-smart security services operative whose desk-bound job doesn't fulfill her fantasies of being a spy. Villanelle is a talented killer, who clings to the luxuries her violent job affords her. These two fierce women, equally obsessed with each other, will go head to head in an epic game of cat and mouse, toppling the typical spy-action thriller.

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Matilda is a little girl who is far too good to be true. At age five-and-a-half she's knocking off double-digit multiplication problems and blitz-reading Dickens. Even more remarkably, her classmates love her even though she's a super-nerd and the teacher's pet. But everything is not perfect in Matilda's world. For starters she has two of the most idiotic, self-centered parents who ever lived. Then there's the large, busty nightmare of a school principal, Miss ("The") Trunchbull, a former hammer-throwing champion who flings children at will and is approximately as sympathetic as a bulldozer. Fortunately for Matilda, she has the inner resources to deal with such annoyances: astonishing intelligence, saintly patience, and an innate predilection for revenge.She warms up with some practical jokes aimed at her hapless parents, but the true test comes when she rallies in defense of her teacher, the sweet Miss Honey, against the diabolical Trunchbull. There is never any doubt that Matilda will carry the day. Even so, this wonderful story is far from predictable. Roald Dahl, while keeping the plot moving imaginatively, also has an unerring ear for emotional truth. The reader cares about Matilda because in addition to all her other gifts, she has real feelings.

For almost 1,500 years, the New Testament manuscripts were copied by hand––and mistakes and intentional changes abound in the competing manuscript versions. Religious and biblical scholar Bart Ehrman makes the provocative case that many of our widely held beliefs concerning the divinity of Jesus, the Trinity, and the divine origins of the Bible itself are the results of both intentional and accidental alterations by scribes.In this compelling and fascinating book, Ehrman shows where and why changes were made in our earliest surviving manuscripts, explaining for the first time how the many variations of our cherished biblical stories came to be, and why only certain versions of the stories qualify for publication in the Bibles we read today. Ehrman frames his account with personal reflections on how his study of the Greek manuscripts made him abandon his once ultra–conservative views of the Bible.

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