作者简介： 琼·G . 罗宾逊（Joan G. Robinson，1910—1988），英国儿童文学作家，幼年在伦敦的富人区——汉普斯特德花园郊区度过。她就读过七所学校，但没有一门功课及格。她曾渴望成为一位插画家，于是陆续为低龄的孩子们画了十四本书。后来，她又转向为稍微 大一点的孩子写幻想小说。长篇小说《回忆中的玛妮》是她最中意的一部作品，曾入围1968 年卡内基文学奖。 译者简介： 孙张静，1971 年出生，四川人。成都大学副教授。出版译著有《偷书贼》《寻找时间的人》《小蜜蜂》《另一个上帝》《失落的神谕》等。 绘者简介： Lisk Feng，新生代绘本漫画家，第8 届金龙奖最佳绘本漫画奖得主。后留学美国，留学期间曾获2014 年度美国插画大奖入选奖，2014 年度美国3×3插画大赛学生组银奖，以及童书《CosmicSeed》大赛入选奖，第二届亚洲中...(展开全部)

琼•G.罗宾逊（Joan G. Robinson，1910-1988）， 英国儿童文学作家，幼年在伦敦的富人区——汉普斯特德花园郊区度过。她就读过七所学校，但没有一门功课及格。她曾渴望成为一位插画家，于是陆续为低龄的孩子们画了十四本书。后来，她又转向为稍微大一点的孩子写幻想小说。长篇小说《回忆中的玛妮》是她最中意的一部作品，曾入围1968 年卡内基文学奖。

In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within ...(展开全部)

In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within ...(展开全部)

石黑一雄，日裔英国小说家，1954年生于日本长崎，与奈保尔、拉什迪并称为“英国文坛移民三雄”。石黑一雄的作品并不多，但几乎每部作品都获得重要的文学奖项：《远山淡影》获温尼弗雷德•霍尔比纪念奖，《浮世画家》获惠特布莱德年度最佳小说奖，《长日将尽》获布克奖，《无可慰藉》获切尔特纳姆文学艺术奖，《浮世画家》《我辈孤雏》和《莫失莫忘》均入围布克奖决选名单；1995年英女王授予石黑一雄文学领域的大英帝国勋章，1998年获法国文学艺术骑士勋章，2017年因“以其巨大的情感力量，发掘了隐藏在我们与世界的虚幻联系之下的深渊”而获诺贝尔文学奖。

When we are baffled by the insanity of the “other side”—in our politics, at work, or at home—it’s because we aren’t seeing how the conflict itself has taken over. That’s what “high conflict” does. It’s the invisible hand of our time. And it’s different from the useful friction of healthy conflict. That’s good conflict, and it’s a necessary force that pushes us to be better peop...(展开全部)

“You should be here; he’s simply magnificent.” These are the final words a biologist hears before his wife dies at the hands of Godzilla. The words haunt him as he studies the Kaiju (Japan’s giant monsters) on an island reserve, attempting to understand the beauty his wife saw. “The Return to Monsterland” opens Where We Go When All We Were Is Gone, a collection of twelve fabuli...(展开全部)

Fiction. Asian & Asian American Studies. "A combination of the mystical, magical, and marvelous, Sequoia Nagamatsu weaves a collection of bold, hysterical, and moving tales into an unforgettable debut. From shape- shifters, to star-makers, to babies made of snow, the characters in WHERE WE GO WHEN ALL WE WERE IS GONE form a community of longing, of the surreal, of wonder. What ...(展开全部)

This powerful collection of stories, set in the Northwest among the lonely men and women who drink, fish and play cards to ease the passing of time, was the first by Raymond Carver to be published in the UK. With its spare, colloquial narration and razor-sharp sense of how people really communicate, the collection went on to become one of the most influential pieces of literary...(展开全部)

From the Booker Prize-winning, bestselling author of Remains of the Day comes this stunning work of soaring imagination. Born in early-twentieth-century Shanghai, Banks was orphaned at the age of nine after the separate disappearances of his parents. Now, more than twenty years later, he is a celebrated figure in London society; yet the investigative expertise that has ga...(展开全部)