共3卷。
颓废少年关口,为要亲近“劲爆”身材美少女,毅然踏上“飞车”不归路。日本漫画鬼才古谷实又一创世巨献遗传“稻中”优良血统、秉承“废柴”生活风格！！...

“我们换衣服换季节换城市换配偶，日子始终那样，无论怎么装洋葱还是得遵从于市民生活。在把日子过成段子之后，我们发现了更多的妖蛾子……”《都是妖蛾子》记录了作家王小柔站在一个小市民的立场上，对平素生活所见、所闻、所思的全方位记录。

蓝颜是相对于红颜而言的质感男人。
蓝颜这种男人生逢其时；而上海蓝颜，还生逢其地。

A memoir by the woman who knew Bob Marley best--his wife, Rita.
Rita Marley grew up in the slums of Trench Town, Jamaica. Abandoned by her mother at a very young age, she was raised by her aunt. Music ran in Rita's family, and even as a child her talent for singing was pronounced. By the age of 18, Rita was an unwed mother, and it was then that she met Bob Marley at a recording studio in Trench Town. Bob and Rita became close friends, fell in love, and soon, she and her girlfriends were singing backup for the Wailers. At the ages of 21 and 19, Bob and Rita were married.
The rest is history: Bob Marley and the Wailers set Jamaica and the world on fire. But while Rita displayed blazing courage, joy, and an indisputable devotion to her husband, life with Bob was not easy. There were his liaisons with other women -- some of which produced children and were conducted under Rita's roof. The press repeatedly reported that Bob was unmarried to preserve his "image." But Rita kept her self-respect, and when Bob succumbed to cancer in 1981, she was at his side. In the years that followed, she became a force in her own right -- as the Bob Marley Foundation's spokesperson and a performer in her reggae group, the I-Three. Written with author Hettie Jones, No Woman No Cry is a no-holds-barred account of life with one of the most famous musicians of all time.
In No Woman No Cry, readers will learn about the never-before-told details of Bob Marley's life, including:
--How Rita practiced subsistence farming when first married to Bob to have food for her family.
--How Rita rode her bicycle into town with copies of Bob's latest songs to sell.
--How Rita worked as a housekeeper in Delaware to help support her family when her children were young.
--Why Rita chose to befriend some of the women with whom Bob had affairs and to give them advice on rearing the children they had with Bob.
--The story of the attack on Bob which almost killed the two of them.
--Bob's last wishes, dreams, and hopes, as well as the details of his death, such as who came to the funeral (and who didn't).

这部《请宰了我：一部叛逆文化的口述秘史》采用最真实、最生动的口述体方式，由当事人回忆了从上世纪60年代到90年代的朋克、地下音乐潮流，包括“地下丝绒”、吉姆·莫里森、伊基·波普、戴维·鲍依、纽约妞乐队、帕蒂·史密斯、雷蒙斯乐队、性手枪乐队等乐队及明星人物的叛逆、自毁。充斥着性、毒品、酒精、离经叛道，既是带动文化浪潮的音乐天才，同时，又是十足的混蛋生活。与此同时，这部口述秘史还涉及上世纪60至70年代许多著名的文化先锋人物，如安迪·沃霍和他的“工厂”、约翰·辛克莱、马尔科姆·麦克拉伦，讲述了他们如何制造了60至70年代的众多新文化事件及明星人物。

在“地球上最危险的城市”，伊拉克的费卢杰，大多数居民早在英美联军轰炸前就已逃离自己的家园。
美国海军陆战队的士兵进入该城一栋荒废的小屋时，听到了奇怪的声响。于是，他们握紧手中的武器，搜索每一个角落，随时准备开火。
他们并没有发现一心复仇的武装分子，却发现了一只被遗弃的小狗。
尽管军规禁止饲养宠物，士兵们还是用煤油和嚼烟祛除了这只小狗身上的跳蚤和寄生虫，并用即食口粮把它喂得饱饱的。海军陆战队员拯救了这只名叫拉瓦的小狗，而小狗拉瓦也拯救了深陷于战争带来的情感创伤中的杰伊·科普曼中校。

1.性侵害議題受關注：近日新聞媒體頻頻報導民進黨黨工蔡茂雄對青少年性侵害的醜聞。根據統計，台灣每天13人遭性侵犯，性侵害和家庭暴力有日益惡化的傾向。

2.作者專業地位、文筆佳：安娜‧莎特1997年榮獲性虐待者治療協會傑出成就獎，所著之小說《Prison Blues》獲2003年愛倫坡獎提名。

3.顛覆性罪犯的面貌、讓他們現身說法：作者發現，性罪犯很少在半夜潛入房間，而是經常在白天光明正大地從大門長驅直入。一般人缺少知識，所以讓性罪犯有機可趁，甚至一輩子逍遙法外。性罪犯怎麼看人？怎麼籌劃預謀？有何生活祕密？什麼會引發他們的虐待行為？為何那麼少人被抓到？本書提供辨識性罪犯的新工具，建議保護孩子和我們自己的最佳方法。

用动物对人类抗争后自建家园来再现前苏联的整个历史情形，奥威尔的《动物庄园》被公认为二十世纪最杰出的政治寓言。《动物庄园》被译成二十多种文字在全世界流传，其中的有些语言还变成了人们的口头禅，和《1984》并称为乔治・奥威尔最重要的代表作。此版本收有小说的英文原文。
本书以隐喻的形式写革命的发生以及革命的背叛，自然还有革命的残酷：一个农庄的动物不堪主人的压迫，在猪的带领下起来反抗，赶走了农庄主；它们建立起一个自己管理自已的家园，奉行“所有动物一律平等”的原则；两只领头的猪为了权力而互相倾轧，胜利者一方宣布另一方是叛徒、内奸；猪们逐渐侵占了其他动物的劳动成果，成为新的特权阶级；动物们稍有不满，便招致血腥的清洗；统治者需要迫使猪与人结成同盟，建立起独裁专制；农庄的理想被修正为“有的动物较之其他动物更为平等”，动物们又回复到从前的悲惨状况。明眼的读者自可看出，此书不属于人们所熟悉的那种蕴含教训的传统寓言，而是对现代政治神话的一种寓言式解构。

澤中慶喜は普通のサラリーマン。
定時に退社し真っ直ぐ帰宅する。
なぜならロリィで可愛い嫁さんが
待っているからだ。
子供に見えるけれど実は姉さん女房。
「今夜はOK」の時はコスプレ姿で
帰宅を待つのが暗黙のルールで……。
ブルマやセーラー服コスプレでのHに大興奮！
顔も身体も性格も超可愛いロリィ人妻との
甘い生活を描く、心とろける表題シリーズの他
同級生を縛ったり、
野外露出させたりして調教しちゃう学園モノ等々、
絵柄の可愛さとエロエロ度を
存分に味わえる待望の最新刊！
たまちゆきワールドにハマれること間違いなし！

3030: New Photography in China
TThis fully illustrated survey presents the work of 30 of China's most exciting photographers under 30. Here for the first time is presented China’s new generation, unburdened by ideology and immersed in the economic and social changes that have transformed China over the past 20 years. From internationally exhibiting artists to photo-journalists, video makers and web bloggers, their images reveal a diverse range of styles that reflect the influence not only of tradition and politics but also foreign media channels and the development of a home-grown pop culture encompassing TV, music, advertising and fashion.
In almost all cases it is the city that provides the inspiration, whether it is Guangzhou in the south, Shanghai in the east or Beijing in the north. And it is partly these regional differences and their influence on each other that lends contemporary photography in China its freshness and strength.
Essays by leading scholars and curators from Beijing and Guangzhou introduce the photographers and their work. For students and enthusiasts of contemporary China and photography ‘3030: New Photography in China’ reveals an exciting new force in world art
The Photographers
Birdhead (鸟头): Song Tao (宋涛) b.1979, Ji Weiyu (季炜煜), b.1980
Cai Wei Dong (蔡卫东), b.1978
Cao Fei (曹斐), b.1978
Chen Wei (陈维), b.1980
Chi Peng (遟鵬), b.1981
Guo Hang (郭航), b. 1983
Huang Kui (黄奎), b.1977
Jin Shan (金闪), b.1976
Li Si En (李思恩), b.1980
Liang Yue (梁玥), b.1979
Lin Zhi Peng (223) (林志鹏), b.1979
Liu Bo (刘波), b.1977
Liu Ding (刘鼎), b.1976
Liu Ren (刘韧), b.1980
Liu Yi Qing (Yiki) (刘一青), b.1982
Lu Yanpeng (卢彦鹏), b.1984
Peng & Chen: Peng Yangjun (彭杨军), b.1977 & Chen Jiaojiao (陈皎皎), b.1980
Shen Hao (沈浩), b.1980
Si Wei (Zao) (司玮), b.1980
Su Han Guang (Alex) (苏焊光), b.1978
Tang Yi (汤艺), b.1982
Wang Yifei (王一飞), b.1984
Wen Ling (Ziboy) (温凌), b.1976
Xu Cheng (徐程), b.1980
Xu Zi Yu (徐梓峪), b.1979
Yang Chang Hong (杨长虹), b. 1979
Yao Yi Chun (姚亦淳), b.1984
Zhang Jungang (K1973) (张君钢), b.1980
Zhao Yao (赵要), b.1981
Zheng Zhiyuan (郑知渊), b.1977

摘自封底:
「我」叩門，門就開了，只一個空房／一糰漆黑，夾雜活人封塵的唸白或哭喪，亡魂未能冥滅，在嚎叫。「我在想念，同時忘記。「我」寫的又怎能是妳。期間「我」老了少許。道德世界給轟成核子塵的時候，那一段靜默和停頓--- 「我」看見那朵煙花--- 世界的簡寫：世界之簡化為一個標號--- 那是永生和死亡下棋的籌碼，陀思妥也夫斯基的流行曲誓辭...... 當「追悔」變成最新近流行在前端的文學潮流，「我」高興得害怕了高興。渴望温柔。悔咎成癮。「我」看見，那朵煙花，「我」看見妳，「我」想著要找到妳。「我」在妳耳畔訴說。妄念無痛的前生。無玷的童貞女、聖靈冥滅，靜夜之華是妳。
Taken up the pseudo-confessional voice of "I," the narrator is trapped in the most difficult situation of choosing between two kinds of women in his "final bet after too many desperate stakes of losing" - one that makes him smoke, the other stops him from smoking - from there a flight of self-fashioned interrogations and a sadomasochism between the split selves take off. Carelessly invoking Nietzsche or Fante, Oxford dictionary and Che Guevara to ornament a melancholic boredom that is irreducible and reactionary. The narrative swerves around in-between cliches typical of travelers writer books, brutally dismantled by existentialist non-action, persecution paranoia reminiscent of the Freudian Schreber's, and at times frank lament of unrequited love and classic Goth motifs reinvented.

「當人意識到死亡之時，人們的欲望及情慾才能昂揚至極限。」你知道中國有可以擁抱屍體的妓院嗎？你看過世上最妖艷的解剖模型「被解剖的維納斯」嗎？你走訪過位於比利時的「死亡城市」嗎？你知道「可愛的真想令人咬一口」這句話不能亂說嗎？你見識過數百具骸骨的大搬家嗎？戀屍、扮裝癖、驚世駭俗的自殺方法…
本書收錄了79種黏、美、酣、濃的慾望喜樂 在愛情、死亡與情慾的夾縫之間，激情的火焰愈猛愈烈活色生香的閱讀冒險你一定得親身體驗！人每談一次戀愛，就經歷了一場短暫的死亡。在墜入愛河的瞬間，極度意亂情迷的狀態下，人會渴望與對方合而為一，這或許才稱得上是「死之極致」吧。
本書書名「情死」就是此意，「幾近死亡的性愛」，或者反過來說，「幾近性愛的死亡」……這就是我對「情死」一詞所下的定義。─桐生操 ─

內容介紹
十六歲那年，我做過援助交際。
一直到現在，我還是把那時候複雜的心境，重重疊疊地包裹起來，暗自深鎖在內心深處。當時，我是一個產品。在價格上，最廉價時只有五萬；最高時，可達到二十五萬日幣。
一年半的援交日子，照理說，手上應該擁有近五百萬日圓存款才對。可是，目前的我卻是口袋空空。
在我的履歷表上，有個空白的部分。我必須努力尋找一種東西來彌補。既然如此，那麼就把事實全數曝光，總可以吧！
本書將敘述的故事，都是赤裸裸的事實。或許那是一場夢囈也說不定。因為，過去的我，必須將它美化，未來則調整腳步編造後段人生。
本書特色
震撼日本與鄰國的社會真實題材【我的16歲援交手記】。
本書由作者自述一個出身中產家庭、在東京就讀明星高中的16歲清純女生，怎樣在情色氾濫的日本社會裡，受同學誘惑而一??從事援交的經過。
新銳作家中山美里，以文學筆法，娓娓道來自己16歲時的援交經歷與悔恨心情。也因揭露日本中年買春客的各種變態行為，在日本成為談話性節目最熱門的題材。
本書是第一本真人真事介紹日本援交亂象的記實文學，反映日本中年男子以「援交」為買春藉口，玩弄崇尚奢華、愛慕虛榮的少女。種種亂象，令人怵目驚心。
日本所發生的一切援交亂象，台灣也正在複製，本書因此成為各教育團體與公益團體防治青少女援交的最佳教材。
本書適合青少年以上讀者閱讀，勵馨基金會執行長紀惠容特別寫序推薦。

Rip It Up and Start Again is the first book-length exploration of the wildly adventurous music created in the years after punk. Renowned music journalist Simon Reynolds celebrates the futurist spirit of such bands as Joy Division, Gang of Four, Talking Heads, and Devo, which resulted in endless innovations in music, lyrics, performance, and style and continued into the early eighties with the video-savvy synth- pop of groups such as Human League, Depeche Mode, and Soft Cell, whose success coincided with the rise of MTV. Full of insight and anecdote and populated by charismatic characters, Rip It Up re-creates the idealism, urgency, and excitement of one of the most important and challenging periods in the history of popular music.

Punk Diary is a comprehensive chronicle of the punk rock era, combining for the first time in one volume the previously published Punk Diary and Post Punk Diary, and expanded with new material never before published. Readers can experience this volatile period in popular music and culture firsthand, as author George Gimarc uses original archival material and in-depth interviews to present a day-by-day accounting of over 1,000 bands and 4,000 recordings, including record releases, live gigs, band breakups, riots, arrests, and revealing quotes.
The story begins with the 1970 release of the second LP by The Stooges and details the careers of well-known bands like The Ramones, The Sex Pistols, and The Clash, as well as giving credit to many smaller, often unfairly forgotten, bands who helped mold the punk revolution. Readers can make their own connections between the people and events to see who influenced whom, what was real, and what was contrived. The companion CD includes interviews with many of the book's subjects.

軍雞 [Shamo]
故事:　人稱少年A的成嶋亮在十六歲時因殺了自己的雙親而入獄，因為未成年的關係，所以囚禁兩年後便獲得釋放。獄內為了要保護自己和生存下去，學曉了空手道而且日夜苦練，終成為一代格鬥高手。亮一方面在黑道打滖，另一方面要不繼地增強自己的功力，參加地下格鬥以拿取獎金供養患神經病的妹妹。
近日Prison break大熱，不知會否帶旺另一監獄主角，漫畫書“軍雞”的男主角成嶋亮。一個完全陰暗和反面的人物，在漫畫書中實在很少見。但一直看下去，目睹主角的成長，又被它吸引下去，結果一口氣追了二十多集，真是過足書癮。
我覺得軍雞全書可以分開三個階段，第一部是主角在監獄內成長至在日本揚名立萬，而且更挑戰當時空手道的第一高手。第二部是離開日本後到中國的格鬥。第三部便是現在剛剛推出的新書，在作者休息一段時間後復出，再轉出版社，描述亮回日本後至今的數期書。第一部跟第二部有很大的分別，第一部講述主角的成長之路，一開始便有監獄內的雞姦和殘酷生活，血腥暴力要幾多有幾多，而且更充滿主角陰暗面的描述，開宗明義是一本兒童不宜的成人漫畫。故事亦漸漸成形，變成空手道的格鬥模式。主角不是英雄人物，他使用的是各種旁門左道的方法，不擇手段地去戰勝對手，生存的意義只是為格鬥。夠凶狠、夠狼死，夠黑暗，是本書的賣點。
第二部講述主角成功擊敗日本的頭號對手之後，遠走上海，繼續其地下摶擊生涯，搵錢給妹妹治病。但劇情一轉，變成學習中國功夫跟氣功的修習。無厘頭地更把主角收起，再用新人帶出新故事，令人看得一頭霧水。最後作者好像還停寫了三年之久，使讀者望穿秋水。
近日市面上從二十期開始，又重新有故事連載，日本的出版社也更換了，舞台更轉回日本。似乎作者有心撥亂歸正，故事又重新納入正軌，讓主角重新出場，再次踏入生死格鬥的檑台。軍雞的人物題材特別，故事緊湊，還有拳拳到肉的格鬥，期望新一輯的故事更為精彩。