Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction. Though many of the stories gathered here were published separately, there are several themes common to them all, giving them new meaning in the context of this collection.

This fascinating compilation of early Edinburgh photographs takes us on a tour of Scotland's historic capital city, but rather than picturing the historic scenes dating back to the 1850s in the tradit

Lost in the Funhouse is a collection of loosely connected short stories that was originally published by John Barth in 1968. These postmodern stories examine the art of fiction writing, among other things, and seem to undermine the conventional and predictable nature of fiction. In the fourteen stories, Barth presents a literary "funhouse," a dense maze that weaves in and out o...(展开全部)

This fascinating compilation of early Edinburgh photographs takes us on a tour of Scotland's historic capital city, but rather than picturing the historic scenes dating back to the 1850s in the tradit

Lost in the Funhouse is a collection of loosely connected short stories that was originally published by John Barth in 1968. These postmodern stories examine the art of fiction writing, among other things, and seem to undermine the conventional and predictable nature of fiction. In the fourteen stories, Barth presents a literary "funhouse," a dense maze that weaves in and out o...(展开全部)

‘Work hard, get paid.’ It’s simple. Self-evident. But it’s also a lie—at least for most of us. For people today, the old assumptions are crumbling; hard work in school no longer guarantees a secure, wellpaying job in the future. Far from equating to riches and fulfilment, ‘work’ means precarity, anxiety and alienation. Amelia Horgan poses three big questions: what is work? How ...(展开全部)

The history of art from the early nineteenth century onward is commonly viewed as a succession of conflicts between innovatory and established styles that culminated in the formalism and aesthetic autonomy of high modernism. In "Art and Crisis", first published in 1948, Hans Sedlmayr argues that the aesthetic disjunctures of modern art signify more than matters of style and poi...(展开全部)

有一个人出生在平成开始的日子，死于平成结束的日子。母亲说他出生时窗外一片蓝天，所以给他取名青，也唤作Blue。——可是那天东京整日阴雨，看不到晴空。平成十五年十二月，青梅市发生一家五口遇害案件。警方推测，次女筱原夏希杀害了其他四人，然后因心脏病发作死亡。但是现场留下了夏希之外的不明指纹，疑似有共犯。——据Blue回忆，他当时在寒冷的雪夜逃跑，但这一天青梅地区并没有降雪记录。平成三十一年四月，东京都多摩新城的空房间里发现倒在血泊中的一对男女，作案方法与“青梅案”如出一辙。据调查，死者是“网吧难民”，他们还有两个孩子。——Blue，我对你几乎没有记忆，尽管如此，你也是我的命运。

有一个人出生在平成开始的日子，死于平成结束的日子。

從平成到令和—— 勾勒一整個時代的 犯罪小說。 最後一句話讓人看得淚流不止！ 曾經，有一個叫「平成」的時代， 有名男子，在這樣的平成時代開始之日誕生，終結之日死亡。 其母親將他命名為「青」，和男子親近的人都叫他「Blue」。 平成十五年十二月。 在青梅市發生教師一家四口凶殺案，繭居在家的次女殺害家人後服藥身亡。警方根據現場判斷凶器上有第三者的指紋，但共犯的鎖定與搜索卻窒礙難行…… 平成三十一年四月。 多摩新市鎮發生男女雙屍命案，被殺的兩人是「網咖難民」，他們的小孩都沒有戶籍。偵辦案件的刑警，察覺案件手法與發生在青梅市的懸案十分相似。 相隔十五年的兩起凶殺案，將在平成結束之時匯聚交集，警方追查鎖定了某個線索──「Blue」，這名男子真的存在嗎？殺人，是他能夠選擇的嗎…… 衝擊性的結局，超越前作《絕叫》的好評之作！ 推薦好評 ★達‧文西雜誌...(展开全部)