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'It's the screaming that cuts you deepest, on your first night in prison. Screaming like someone is hurt. Like they need help. Like someone is dying.'

Becker B: Inside / LF

Inside

Winning. Losing. Starting Again

A Simon &amp; Schuster book. Simon &amp; Schuster has a great book for every reader.

Untitled

The 2nd edition of Murder, Medicine and Motherhood presents a fresh examination of the case of Kathleen Folbigg and a critical evaluation of the process that led to her exoneration in 2023. 

In 2011, the 2nd edition of this influential work argued that Kathleen Folbigg was wrongly convicted of killing her 4 children. The book attracted scholarly and public attention and led to medical and legal reviews of the Folbigg children's deaths. 

Two subsequent inquiries examined Folbigg's convictions. In 2019, Commissioner Blanch concluded that Folbigg's guilt was "even more certain" than it had been at trial. His report provoked an unprecedented response from the Australian Academy of Science, highlighting a rift between the legal and scientific establishments over how medical evidence should be managed. A petition signed by Nobel prize winners and others demanded a further review. The 2nd inquiry, completed in 2023, adopted a markedly different approach to scientific and behavioural evidence. Commissioner Bathurst ultimately reached the "firm view" that "reasonable doubt exists as to Folbigg's guilt." 

This new edition extends the examination of the legal process, medical evidence, and normative expectations of motherhood. It evaluates law's fact-finding processes and the legal system's adherence to the principles of proof beyond a reasonable doubt, and raises concerns about how legal actors work with scientific uncertainty and assess women's credibility and demeanour.

The 2nd edition of Murder, Medicine and Motherhood presents a fresh examination of the case of Kathleen Folbigg and a critical evaluation of the process that led to her exoneration in 2023. 

In 2011, the 2nd edition of this influential work argued that Kathleen Folbigg was wrongly convicted of killing her 4 children. The book attracted scholarly and public attention and led to medical and legal reviews of the Folbigg children’s deaths. 

Two subsequent inquiries examined Folbigg’s convictions. In 2019, Commissioner Blanch concluded that Folbigg’s guilt was “even more certain” than it had been at trial. His report provoked an unprecedented response from the Australian Academy of Science, highlighting a rift between the legal and scientific establishments over how medical evidence should be managed. A petition signed by Nobel prize winners and others demanded a further review. The 2nd inquiry, completed in 2023, adopted a markedly different approach to scientific and behavioural evidence. Commissioner Bathurst ultimately reached the “firm view” that “reasonable doubt exists as to Folbigg’s guilt.” 

This new edition extends the examination of the legal process, medical evidence, and normative expectations of motherhood. It evaluates law’s fact-finding processes and the legal system’s adherence to the principles of proof beyond a reasonable doubt, and raises concerns about how legal actors work with scientific uncertainty and assess women’s credibility and demeanour.

The Wrongful Convictions of Kathleen Folbigg

Murder, Medicine and Motherhood

W&N Essentials

True Stories brings together in one volume the short non-fiction of Australian literary legend Helen Garner

The Collected Short Non-Fiction

True Stories

In this humorous memoir, New York Times bestselling author Father James Martin, SJ shares summer by summer, job by job, how a former paperboy, lawnmower, busboy, dishwasher, caddy, usher, waiter, bank teller, assembly-line worker, corporate tool became a Jesuit priest.Work in Progress is a snapshot of several years--from a boy, then a teenager, and finally a young adult--of being thrown into a series of jobs that Father Martin had zero training. He never once set foot in a restaurant kitchen before working as a busboy; never stepped onto a golf course before working as a caddy; and never once seen a factory floor before working as an assembly-line worker. He almost always felt uncomfortable, unsettled, and uneasy. But, we've all done jobs we didn't love because we needed the money.This is a come of age in the 1960s and 1970s story but not all aspects. It is a lighthearted tale for readers that enjoy personal narratives and is unlike anything Father Martin has written before. As he puts it, "This is a spiritual memoir from a different angle, then told "slant" as Emily Dickson might say."Each chapter features treasured photos of memories and milestones throughout Father Martin's life. If you're an aficionado of snafus, you won't be disappointed. He's not the hero in these stories, more a hapless teenager who learns in each job, even the ones he loathes, something about the value of work, about what it means to be an adult, about people, and about life overall.Work in Progress teaches us small lessons that we should all practice: work hard, be on time, don't be mean, apologize when you need to, forgive frequently, ask if you don't know something, don't misuse power, pay attention to those struggling, be kind, and listen.

In this humorous memoir, New York Times bestselling author Father James Martin, the humorous memoir of how a former busboy, dishwasher, caddy, usher, bank teller, factory worker, corporate tool, became a Jesuit priest.Work in Progress is a snapshot of several years--from a boy, then a teenager, and finally a young adult--of being thrown into a series of jobs that Father Martin had zero training. He never once set foot in a restaurant kitchen before working as a busboy; never stepped onto a golf course before working as a caddy; and never once seen a factory floor before working as a factory worker. He almost always felt uncomfortable, unsettled, and uneasy. But, we've all done jobs we didn't love because we needed the money.This is a come of age in the 1960s and 1970s story but not all aspects. It is a lighthearted tale for readers that enjoy personal narratives and is unlike anything Father Martin has written before. As he puts it, "This is a spiritual memoir from a different angle, then told "slant" as Emily Dickinson might say."Each chapter features treasured photos of memories and milestones throughout Father Martin's life. If you're an aficionado of snafus, you won't be disappointed. He's not the hero in these stories, more a hapless teenager who learns in each job, even the ones he loathes, something about the value of work, about what it means to be an adult, about people, and about life overall.Work in Progress teaches us small lessons that we should all practice: work hard, be on time, don't be mean, apologize when you need to, forgive frequently, ask if you don't know something, don't misuse power, pay attention to those struggling, be kind, and listen.

Confessions of a busboy, dishwasher, caddy, usher, factory worker, bank teller, corporate tool, and priest

Work in Progress

The Story of a Season

Winter

»Spuren im Staub« wurde erstmals 1942 auf dem Höhepunkt von Zora Neale Hurstons Popularität veröffentlicht und ist ihre freimütige, witzige, kühne und ergreifende Autobiografie. Eindrucksvoll und überschwänglich erzählt sie darin von ihrer Kindheit im ländlichen Süden und von ihrem Aufstieg zu einer der führenden Künstlerinnen und Intellektuellen der Harlem Renaissance.Hurstons sehr persönliches literarisches Selbstporträt ist fesselnd und bietet einen aufschlussreichen, oft kühnen Einblick in das Leben – öffentlich und privat – einer außergewöhnlichen Künstlerin, Anthropologin, Chronistin und Verfechterin der Black Experience in Amerika. Voller Witz und Weisheit einer stolzen, temperamentvollen Frau, die ganz unten anfing und ganz oben ankam, ist »Spuren im Staub« ein seltener Schatz von einer der meistgeschätzten Stimmen der Literatur.

»Warm, witzig, phantasievoll. Ein reichhaltiges und gewinnendes Buch.« New Yorker | Autobiografie einer der bedeutendsten afroamerikanischen Schriftstellerinnen des 20. Jh

Spuren im Staub

An Irishman in Germany

A Memoir with Manuscripts

The Migrants

The Man Behind the Smile

Being Carlos Alcaraz

A Memoir About Saving Yourself

Don't Let it Break You, Honey

How Comté and Camembert Fed My Soul

The Cheese Cure

This book is about something special that we all desire - love. And it is also a book about what keeps us apart - the desire to be seen but being unwilling to do what needs to be done to see. This book will change your life. It wull give you all the wings you need to fly again.

His friends called him V. He used to feel intimidated by the fashion world but he got over it. He designed his first Louis Vuitton collection in three hours. He cared more about pageantry than clothes. He wasn’t precious about his ideas. He sometimes made work and added the meaning later. He contradicted himself all the time but he saw no problem with that. Fashion for him was one big art project, and also kind of a joke. He believed in God. He believed in logos. He thought insisting on novelty in fashion was farcical; a critique meant to keep people like him out. Some nights when he couldn’t sleep he wondered how people would remember him once he was gone. Virgil Abloh, who died unexpectedly in 2021 at age 41, defied categorization. Born in Rockford, Illinois to Ghanaian immigrants, he learned to sew as child, studied civil engineering in college and then architecture in graduate school. He entered the world of fashion sideways, without formal training, upsetting the status quo first with the stratospheric success of Off-White and then with his appointment as Artistic Director of menswear at Louis Vuitton. He pierced the divisions between pop culture and couture, fashion, music, and design, and was as influenced by Marcel Duchamp and Mies van der Rohe, Albert Murray, Rammellzee, Drake, DJ Benji B, Kylie Jenner, and Bella Hadid, as by the storied histories of high fashion houses. He was fascinated by the commodification of culture and the dialectic between appropriation and reappropriation, between ‘high’ and ‘low’. He admired the ready-made and the imitative for the way in which they force you to think carefully about the context in which they were created. He felt originality was a sham, and saw clearly the way Fashion, with a capital F, depends on the policing of who is allowed the mantle of ‘genius’. The establishment bridled at his approach even as they celebrated his work. He, in turn, understood that people wanted him to be a symbol, to fit an idea of the Black Designer, but he refused any kind of easy definition. Here, in Work in Progress, is a blueprint for a way to live, a conversation between friends, a challenge to any idea of black and white thinking. A portrait of an iconoclast, WORK IN PROGRESS takes us inside the mind of one of the most visionary and transformational designers of our time.

335876 TBA

Inside

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