日本作家大平一枝抱着“纸这一介质是否会消失会被替代”的疑问，深入与“纸”相关的各行各业，采访各类设计师、收藏家、民艺家，满含深情写下的与纸有关的人生百味。全书由日本百年品牌竹尾的六种特种纸打造，既是内容精良的图书，又是视觉与触感兼美的艺术品。
近三十位日本重量级艺术家×六种竹尾特种纸打造全书！
有多少种纸，就有多少种与纸相关的情感与信念，
就有多少爱纸之人在这个乏味时代的有趣生活。
★殿堂级设计师、资生堂设计总监仲条正义；开启日本一整个装帧时代的平野甲贺；享誉国际的日式庭园设计师枡野俊明；种树抄纸的和纸艺术家 森田千晶……近三十位艺术家、设计师讲述的人与纸的深情故事。纸业大国写给纸与爱纸之人的一封情书。
★日本百年品牌竹尾，六种特种纸打造全书。不同观感，不同手感；从里到外都奢侈，中文版限量发售。
★每一种纸，都是一种真真切切生活过的痕迹。
这里有各种形态的纸，明信片、包装袋、书、名片、纸币、广告海报……
这里也有各种形态的人生，儿子悄悄写给父亲的信；平民生活区里的活字印刷所；徘徊于人生低谷的画家在冷清画材店偶遇的人生导师；平野甲贺的独创字体；仲条正义引领的资生堂设计革新……
纸的尊严，就是人的尊严。

A riveting, lucid memoir of a young woman's struggle to regain her sense of self after trauma, and the efforts by a powerful New England boarding school to silence her--at any cost
When the elite St. Paul's School recently came under state investigation after extensive reports of sexual abuse on campus, Lacy Crawford thought she'd put behind her the assault she'd suffered at St. Paul's decades before, when she was fifteen. Still, when detectives asked for victims to come forward, she sent a note.
Her criminal case file reopened, she saw for the first time evidence that corroborated her memories. Here were depictions of the naïve, hard-working girl she'd been, a chorister and debater, the daughter of a priest; of the two senior athletes who assaulted her and were allowed to graduate with awards; and of the faculty, doctors, and priests who had known about Crawford's assault and gone to great lengths to bury it.
Now a wife, mother, and writer living on the other side of the country, Crawford learned that police had uncovered astonishing proof of an institutional silencing years before, and that unnamed powers were still trying to block her case. The slander, innuendo, and lack of adult concern that Crawford had experienced as a student hadn't been imagined as the effects of trauma, after all: these were the actions of a school that prized its reputation above anything, even a child.
This revelation launched Crawford on an extraordinary inquiry into the ways gender, privilege, and power shaped her experience as a girl at the gates of America's elite. Her investigation looks beyond the sprawling playing fields and soaring chapel towers of crucibles of power like St. Paul's, whose reckoning is still to come. And it runs deep into the channels of shame and guilt, witness and silencing, that dictate who can speak and who is heard in American society.
An insightful, mature, beautifully written memoir, Notes on a Silencing is an arresting coming-of-age story that wrestles with an essential question for our time: what telling of a survivor's story will finally force a remedy?

◆全球视觉工具书经典品牌 DK 出品，可以放在书架上的蘑菇博物馆。
◆全彩大 16 开，超过 2000 幅精美的多角度彩色插图，系统介绍了 450 多种野生蘑菇，涵盖常见品种和新发现。
◆适合专业研究者 & 普通爱好者，可呼朋引伴携带上山入林，也可亲子共读，附有简单易行的动手指导。
【编辑推荐】
天气转暖，正是郊外踏青的好时候，各种各样的蘑菇也正从土壤里、枯枝上、树桩上，甚至其他蘑菇上静悄悄地冒出来。以往你也许只能笼统地称呼它们为蘑菇，有了这本《DK蘑菇大百科》，你就可以叫出它们真正的名字，并且注意到之前忽略的那些细节，它们的色泽、形态、生长环境、生活习性等等，在不知不觉中走进神奇瑰丽的蘑菇世界。美味的羊肚菌和牛肝菌，会化成墨汁的毛头鬼伞，长得像鸟巢的蛋巢菌，笼子状的笼头菌，软糖状的润滑锤舌菌，占据昆虫尸体的虫草，靠苍蝇和小猪带路采集的松露……家有小朋友的读者，除了带着他们到处认蘑菇、采蘑菇，还可以按照书上介绍的步骤，制作美丽的孢子印。假如你是个吃货，本书也可以帮助你分辨它们中间哪些是一流的美味，哪些仅能入口，哪些会让你肠胃不适乃至中毒。但除非你是专业的真菌学家或极有经验的采集者，否则不要把任何一种蘑菇轻易丢进嘴里，因为分辨蘑菇实在是一件高难度的工作，长得像的蘑菇太多啦。大部分时候，我们还是做一枚安静的观察者和欣赏者吧。
【内容简介】
《DK蘑菇大百科》是由视觉工具书知名品牌DK打造的关于蘑菇的经典图文读本。配有2000多幅精美的多角度彩色插图，直观展示蘑菇丰富的形态。系统介绍了450多种野生蘑菇，涵盖常见品种和新发现：主要特征、生长环境、出菇季节、分布情况、可食用性、学名和俗名，以及分辨它们的切实可靠的基本知识和方法。

Poet and essayist Cathy Park Hong fearlessly and provocatively blends memoir, cultural criticism, and history to expose fresh truths about racialized consciousness in America. Part memoir and part cultural criticism, this collection is vulnerable, humorous, and provocative—and its relentless and riveting pursuit of vital questions around family and friendship, art and politics, identity and individuality, will change the way you think about our world.
Binding these essays together is Hong’s theory of “minor feelings.” As the daughter of Korean immigrants, Cathy Park Hong grew up steeped in shame, suspicion, and melancholy. She would later understand that these “minor feelings” occur when American optimism contradicts your own reality—when you believe the lies you’re told about your own racial identity. Minor feelings are not small, they’re dissonant—and in their tension Hong finds the key to the questions that haunt her.
With sly humor and a poet’s searching mind, Hong uses her own story as a portal into a deeper examination of racial consciousness in America today. This intimate and devastating book traces her relationship to the English language, to shame and depression, to poetry and female friendship. A radically honest work of art, Minor Feelings forms a portrait of one Asian American psyche—and of a writer’s search to both uncover and speak the truth.

艺术史研究中长期以“仕女画”或“美人画”来表述以女性为主题的绘画作品，但这样的术语不仅相对晚出，在形成过程中还带有一定的画科定位和评论取向，也无法囊括所有围绕“女性”产生的绘画作品。本书中，巫鸿先生提出了“女性题材绘画”这个概念，并引入“女性空间”作为讨论的核心，意图把被孤立和抽出的女性形象还原到它们所属的图画、建筑和社会环境中去。
围绕“女性空间”，作者梳理了从战国到明清各个历史阶段中女性主题绘画的发展状况——从武梁祠的列女画像砖到南北朝的《洛神赋图》，从青楼名妓的自我表现到展现理想化美人的《十二美人图》，以图文并茂的方式，展现“女性”在各种绘画场景和时代中的不同呈现，重构其所从属的原作；结合艺术评论、时代背景等因素，深度挖掘作品背后审美价值和商业价值的相互影响，进而思考女性题材绘画在社会、宗教与文化环境中的意义。

★ 刚才有年轻人问：“谁能救救我们？”我的回答可能会让年轻人不舒服：这是奴才的思维。永远不要等着谁来救我们。我们都得一步一步救自己，我靠的是一笔一笔地画画，贾樟柯靠的是一寸一寸的胶片。
——陈丹青
★陈丹青称他为“不一样的动物”。戛纳国际电影节“金马车奖”获得者，首个获得该奖的华人导演贾樟柯第一部回顾其电影创作和思路历程的著作。
★我想用电影去关心普通人，首先要尊重世俗生活。在缓慢的时光流程中，感觉每个平淡生命的喜悦或沉重。“生活就像一条宁静的长河”，让我们好好体会吧。
北岛在一篇散文中写道：人总是自以为经历的风暴是唯一的，且自喻为风暴，想把下一代也吹得东摇西晃。
最后他说，下一代怎么个活法？这是他们自己要回答的问题。
我不知道我们将会是怎么个活法，我们将拍什么样的电影。
因为“我们”本来就是个空洞的词——我们是谁？
——贾樟柯
★“邮政绿”皮面软精装设计，适合随身携带，细细品读“柯长”对电影艺术、社会现状的深刻思考。
本书稿是著名电影导演贾樟柯第一部回顾其电影创作和思路历程的著作，也是对其1996到2008年这十余年来导演生涯的梳理与总结，全景记录了这些年来其思考和活动的踪迹。此书2009年由北京大学出版社首次出版，此次经作者重新修订，改版推出。书中收录了贾樟柯导演生涯各时期对电影艺术孜孜不倦的探索和独特的思考，另有多篇与电影界、艺术界、媒体等多领域关键人物的代表性访谈。全书以贾樟柯所拍电影为纲，所有收录文章以发表的时间顺序排列，呈现出导演个人敏感而执着的心路历程，也体现出贾樟柯以电影抒写乡愁的深切情怀。
摄影机面对物质却审视精神。
在人物无休止的交谈、乏味的歌唱、机械的舞蹈背后，我们发现激情只能短暂存在，良心成了偶然现象。
这是一部关于现实的焦灼的电影，一些美好的东西正在从我们的生活中迅速消失。我们面对坍塌，身处困境，生命再次变得孤独从而显得高贵。
<导演的话>（“1998年，小武”）
我想用电影去关心普通人，首先要尊重世俗生活。在缓慢的时光流程中，感觉每个平淡生命的喜悦或沉重。“生活就像一条宁静的长河”，让我们好好体会吧。
北岛在一篇散文中写道：人总是自以为经历的风暴是唯一的，且自喻为风暴，想把下一代也吹得东摇西晃。
最后他说，下一代怎么个活法？这是他们自己要回答的问题。
我不知道我们将会是怎么个活法，我们将拍什么样的电影。
因为“我们”本来就是个空洞的词——我们是谁？
<我不诗化自己的经历>
在法国的一家影院，我观看了文德斯的最新纪录片《乐满哈瓦那》（Buena Vista Social Club）。这部主要拍摄于古巴、讲述几个老爵士乐手生活的影片也是用数码技术拍摄，而后转为胶片的电影。银幕上粗颗粒的影像闪烁着纪录的美感，而数码摄像机灵巧的拍摄特点，也为这部影片带来了丰富的视点。观看过程中始终伴随着观众热情的掌声，不禁让我感慨，一种新的电影美学正在随数码技术的发展而成型。数码摄像机对照度的低要求，极小的机身，极易掌握的操作，极低的成本，都使我们看到一种前景。
<有了VCD 和数码摄像机以后>
这些年来，我目睹了太多朋友想拍一部电影而经历的遭遇。有的人怀抱一叠剧本，面对“推销者勿入”的牌子，艰难地推开一家又一家公司。在各种各样的脸色面前，自尊心严重受挫，理想变成了凶手。有的人将希望寄托在人际关系之上，千方百计广交朋友，在逢场作戏中盼望碰到大哥，能帮小弟一把。但大哥总在别处，希望总在前方。有一天突然会有“老板”拿走你的剧本，一年半载后，才发现“老板”也在空手套白狼，而且不是高手。也有人在向外国人“公关”，参加几次外交公寓的party 后，才发现洋务难搞，老外也一样实际。大小娱乐报纸你方唱罢我登场，一片繁荣景象。但在北太平庄一带遛遛，心里依旧凄凉。机会看起来很多却无从入手。于是电影研究得越来越少，社交能力越来越强。几个同病相怜的朋友偶尔相聚，在北航大排档喝闷酒，猜拳行令时开口便是：“人在江湖漂呀，谁能不挨刀呀！一刀，两刀……”
<东京之夏>
后来有人跟我说，你选择小偷这样一个角色作为主要人物缺乏普遍意义，不符合你记录这个时代的创作意图。我觉得要谈一个作品里的角色有没有普遍性并不在于他具体的社会身份是什么，而在于你是否能从人性的角度去对这个特定的角色加以把握。
我之所以会对小偷这个角色感兴趣，是因为他给我提供了这样一种角度，通过这个角度去切入可以表现出一种很有意思的关系转换。譬如小武的朋友小勇，他本来也是个小偷，通过贩私烟、开歌厅，摇身一变，成了当地有头有脸的“民营企业家”。这里就有一个价值关系的转换：贩私烟→贸易，开歌厅→娱乐业，像小勇这样的人在这样一个世界里可以通过这种方式如鱼得水地变来变去，不断改变自己的社会地位。只有小偷，到什么时候他也只是个小偷。
我的这种美学偏好，可能多少来源于我对博尔赫斯小说的阅读经验。当然我读的是中文译本，所以我没有办法去判断他原来的文字。通过译本，我所接触到的是一个个不带修饰成分的具体的文字意象，博尔赫斯用这样一种简洁的文字通过白描为我们构筑起了一个扑朔迷离的想象世界—这正是我在拍电影的时候非常想去实现的。像《小武》里梅梅吻了小武以后那一组镜头的安排，画外配上了吴宇森《喋血双雄》里的音响，目的是想制造这样一种间离的效果：使我们的感知能够来来回回地在现实和非现实的两个层面上自由地进行穿梭。
<一个来自中国基层的民间导演（对谈）>
但电影开演后，我一下跌进了杨德昌细心安排的世俗生活中。这是一部关于家庭、关于中年人、关于人类处境的电影。故事从吴念真饰演的中产阶级扩展开去，展示了一个“幸福”的华人标准家庭背后的真相。我无法将这部电影的故事一一道出，因为整部影片弥漫着的“幸福”真相让人紧张而心碎。结尾小孩一句“ 我才七岁，但我觉得我老了”更让我黯然神伤。杨德昌的这部杰作平实地写出了生之压力，甚至让我感觉到了疲惫的喘息。我无法将《一一》与他从前的电影相联系，因为杨德昌真的超越了自己。他可贵的生命经验终于没有被喧宾夺主的理念打断，在缓慢而痛苦的剥落中，裸露了五十岁的真情。而我自己也在巴黎这个落雨的下午看到了2000 年最精彩的电影。
<谁在开创华语电影的新世纪>
我的方法是根本不介入那个所谓的圈子之中，更对其中的恩怨不感兴趣。在北京，相对来说我自己是一个独立的系统，虽然多少有些封闭，但我在其中可以焦点集中地专注于自己的工作。从一开始我就对自己的创作有一个比较完整的规划，希望能够逐渐在电影中建立自己的精神世界。这是一个非常有吸引力的工作方法，让我能不太在意创作之外的事情，包括影展的得失和票房的好坏。因为这两者都不是我的终极目标，让我焦灼的永远是艺术上的问题，而艺术问题是你自己的事情，与圈子无关，与他人无关。
<经验世界中的影像选择（笔谈）>
我特别喜欢安东尼奥尼说的一句话，他说你进入一个空间里面，要先沉浸十分钟，听这个空间跟你诉说，然后你跟它对话。这几乎是一直以来我创作的一个信条，我只有站在真的实景空间里面，才能知道如何拍这场戏，我的分镜头差不多也是这样形成的，它对我的帮助真是特别大。在空间里面，你能找到一种东西，感觉到它，然后信赖它。
我拍了很多空间。火车站、汽车站、候车厅、舞厅、卡拉OK、台球厅、旱冰场、茶楼……后期剪辑的时候，因为篇幅的限制，好多东西不得不去掉，我在这些空间里面找到了一个节奏，一种秩序，就是许多场所都和旅途有关，我选择了最符合这条线的东西。
电影是一种工业，拍电影是一个非常有计划性的工作，一个导演独立制片的方法也是为了尽量减少工业带来的捆绑和束缚。那种束缚不单是制片人的压力，电影审查的控制，电影制作方法本身也是一种规范，DV 带给人一种摆脱工业的快感。在拍公共汽车站的时候，当地的向导先带我们去煤矿拍了一个工人俱乐部。出来以后，就是电影里那个地方，正好有一些人在等车。太阳已经开始下来，一下就有被击中的感觉。我就拍这个地方，一直拍，一直拍，拍了很多东西。当我拍那个老头儿的时候，我已经很满意了，他很有尊严，我一直很耐心地拍他，当我的镜头跟着他上了车的时候，突然有一个女人就闯入了，我的录音师说我那一刻都发抖了。我注视她的时候，她的背景是非常平板的工人宿舍区，那时候我特别有一种宗教感，就一直跟着拍；然后又有一个男人突然进入了，他们什么关系，不知道，最后两个人都走掉了。整个过程里面，我觉得每分钟，都是上帝的赐予。
<《公共场所》自述>
我还是习惯下午在黄亭子见人：约朋友举杯叙旧，找仇家拍桌子翻脸，接受采访，说服制片，恳求帮助，找高人指点。酒喝不多话可不少，我的家乡汾阳产汾酒，常有名人题词。猛然想起不知谁的一句诗：有酒方能意识流，大块文章乐未休。于是又多了一些心理活动。在推杯换盏时心里猛地一沉，知道正事未办，于是悲从心起。话突然少了，趴在桌子上看烛光跳动，耳边喧闹渐渐抽象，有《海上花》的意境。于是想起年华老去，自己也过上了混日子的生活。感觉生命轻浮肉身沉重。像一个老男人般突然古怪地离席，于回家的黑暗中恍惚看到童年往事。知道自己有些醉意，便对司机师傅说：有酒方能意识流。师傅见多了，不会有响应，知道天亮后此人便又会醒：向人赔笑，与人握手，全然不知自己曾如此局促，丑态百出。
到了下午，又在等人。客人迟迟不来，心境已然没有了先前的躁动，配合下午清闲的气氛，站起来向窗外望。外面的人们在白太阳下骑车奔忙，不知在追逐什么样的际遇。心感苍生如雀，竟然有些忧伤。突然进来一位中年女子，点一杯酒又让小陈放张信哲的歌，歌声未起，哭声先出。原来这酒吧也是可以哭的地方。
现在再去黄亭子，酒吧已经拆了，变成了土堆。这是一个比喻，一切皆可化尘而去。于是不得不抓紧电影，不为不朽，只为此中可以落泪。
<有酒方能意识流>

缮写室是欧洲中世纪制作书籍的地方，但《缮写室》不是一本关于中古手抄本或者它们的缮写员的书，而是中世纪文学博士、诗人包慧怡的一本私人文学地理，一本记录在其成长过程中影响甚远的作家及其作品的阅读笔记。对于莎士比亚、刘易斯·卡罗尔、王尔德、“珍珠”诗人、安吉拉 · 卡特、 甚至米开朗琪罗的珍视与读解，不仅呈现出作为手艺人论手艺的精妙细腻，更表现出以写作这门手艺为自己在这流离溃散的世界筑造真正之家的努力。这本书阅读的终结，也将带来另一本以至更多本书的开始。

David Lynch erupted onto the cinema landscape in 1977 with Eraserhead, establishing himself as one of the most original and imaginative directors at work in contemporary cinema. Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

Looking at the outside of things such as architecture, anatomy, or vehicles does not usually reveal much about their internal structures and functions. To learn more, we need to see inside them. Look Inside features infographics that cut up or take apart their subjects and make them transparent. The resulting cross sections and interior views present precise detail in multiple layers.
Look Inside starts with a discussion of Arnhem Land, the earliest known cutaway illustrations, showing that even 28,000 years ago, humans had a fascination with how things internally work: the processes that are hidden from the human eye. Including work from both centuries past and the cutting-edge present, Look Inside is an unparalleled compendium of cutaway techniques and their wide-ranging applications. Works from Jewish-German physician Fritz Kahn’s imagine the human body as a mechanized factory; Kahn’s visual metaphors show conveyor belts and offices instead of veins and valves. Exploded images of classic sports cars allows Fabian Oefner to show every piece of the automotive puzzle from the body shell to individual tiny screws. Richard Orr’s scientific pieces represent the natural world and continue in the genre’s traditional thread of handmade illustrations; whether a beaver lodge or an arctic circle landscape, Orr presents a vivid natural world or layers and scientific hierarchies. The luxurious collection within Look Inside was curated by renowned information designers and creative directors, Samuel and Juan Velasco. The Velasco brothers have provided invaluable and inspirational insight in the history and theory of cutaway illustrations and visual storytelling.

This primers tells the "have-nots" how they can organize to achieve real political power for the practice of true democracy.

We live in a culture of casual certitude. This has always been the case, no matter how often that certainty has failed. Though no generation believes there’s nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure—until, of course, they don’t.

But What If We’re Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or—weirder still—widely known, but entirely disrespected)? Is it possible that we “overrate” democracy? And perhaps most disturbing, is it possible that we’ve reached the end of knowledge?

Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We’re Wrong? is built on interviews with a variety of creative thinkers—George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others—interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It’s a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It’s about how we live now, once “now” has become “then.”

Sixteen of the world's great women writers speak about their work, their colleagues, and their lives.
For More Than Forty Years, the acclaimed Paris Review interviews have been collected in the Writers at Work series. The Modern Library relaunches the series with the first of its specialized collections -- interviews with sixteen women novelists, poets, and playwrights, all offering rich commentary on the art of writing and on the opportunities and challenges a woman writer faces in contemporary society.

This edition combines 77 Dream Songs, awarded the Pulitzer Prize for Poetry in 1965, and His Toy, His Dream, His Rest, which won the National Book Award for Poetry in 1969. It contains 385 songs, an index of first lines, an index of titles, and a note by the author.
In his essay on the work, Denis Donoghue says: "John Berryman has now completed the long poem, The Dream Songs, begun in 1955 . . . The poet resolved it [the problem of a long poem] in his own way; not Eliot's way in Four Quartets, Williams's way in Paterson, Pound's way in the Cantos, or Hart Crane's way in The Bridge . . . Mr. Berryman's answer was to conceive a diary, a dream diary."
"A major achievement," writes A. Alvarez in The Observer. "He has written an elegy on his brilliant generation and, in the process, he has also written an elegy on himself."
Of the hero of The Dream Songs, James Schevill has written: "The character of Henry is a permanent addition to American literature."

一部令众多大牌剪辑师“相见恨晚”的著作
希区柯克、罗曼·波兰斯基、西德尼·吕美特御用剪辑师的第一手创作经验
揭秘剪辑师从剪辑室、放映室到制片室的完整工作状态
从初剪第一步带领你深入电影剪辑世界的大门
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本书为我们揭开了电影剪辑世界的幕布，以充满趣味性的笔触展示了剪辑这门神秘艺术的魅力所在。出身剪辑世家的鲍比本书为我们揭开了电影剪辑世界的幕布，以充满趣味性的笔触展示了剪辑这门神秘艺术的魅力所在。出身剪辑世家的鲍比·奥斯廷运用自己浸淫专业领域多年的实践经验和诸多世界一流剪辑师的作品为案例，分门别类地阐释了剪辑师究竟施展了什么样的魔法，来使观众对电影笃信不疑。
通过分析经典巨作《毕业生》、《唐人街》、《后窗》、《法国贩毒网》、《十二怒汉》、《体热》、《一夜狂欢》和《虎豹小霸王》等片中的剪切点截图，奥斯廷详细探究了转场的使用、动势的建置、音乐与动作的契合、为演员表演和摄影角度查缺补漏等剪辑技巧，将剪辑师如何巧手慧心地操控我们的观片期待，又如何设置各种“圈套”来引诱我们对故事的发展欲罢不能，揭示得一览无余。她用鲜活生动的第一手创作经验告诉我们，所谓“看不见的剪辑”的要义，正在于“别让观众看出电影剪辑的把戏，让他们相信魔法”。
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《看不见的剪辑》给剪辑师带来的灵感比我以往读过的任何书都要多。奥斯廷利用剪切点截图和对影片场景的分析，深入观察剪辑过程，从而打开了一扇神奇的剪辑之窗。这本著作内容真诚、独树一帜，用一种特殊的方式定义了剪辑师所必须熟知的电影语言。《看不见的剪辑》将会给电影制作者和所有喜爱电影艺术的人带来启发。
——卡罗尔·利特尔顿，电影剪辑师，代表作有《外星人E.T.》、《真爱》、《体热》
这是一本严谨的著作，鲍比·奥斯廷主刀了一次精细的电影外科手术，并为所有对电影奥秘深感兴趣的观众提供了一本宝贵的指南。
——劳伦斯·卡斯丹，作家、导演，代表作有《体热》、《大寒》、《大峡谷》
通常我在业余时间不喜欢读剪辑方面的书，因为这像是把家里也变成了办公室。但不同于绝大多数的电影技术类书籍，鲍比·奥斯廷的书融娱乐与指导为一体，《看不见的剪辑》完整地展示了我们剪辑师所做的一切。向所有电影制作者强烈推荐这本书。
——克里斯·莱本森，电影剪辑师，代表作有《理发师陶德》、《查理的巧克力工厂》、《壮志凌云》
此书是对我们知之甚少的电影艺术的一次极好的解密。它没有用生僻古怪或过于专业的术语将读者淹没，相反，鲍比·奥斯廷描绘了一幅清晰的剪辑图景，用精炼简洁、通俗易懂的原理将魔幻般的电影剪辑艺术呈现给我们。
——约翰·巴德姆，导演，代表作有《周末夜狂欢》、《战争游戏》
《看不见的剪辑》是一本对电影爱好者和电影人都非常适用的佳作。它解释并说明了剪辑师如何运用他们的魔法，以及他们生存和工作的世界。鲍比·奥斯廷清晰地说明了剪辑室、放映室和制片室的工作状态。如果我在职业生涯开始之初就读过这本书的话，那我会少走多少弯路呀。
——艾伦·海姆，电影剪辑师，代表作有《爵士春秋》、《电视台风云》、《恋恋笔记本》
这是第一本解密剪辑技艺全过程的书，它精准地阐释了电影剪辑师做了什么、怎么做的，以及为何要这么做。书的内容通俗易懂、引人入胜，并且以经典影片所常用的剪辑手法作为范例，展示了从影片开拍的第一天到影片最终登上大银幕的全过程。我多希望自己在职业开始之初就读了鲍比的书呀，这本书会帮我节约大量的时间，减少很多不必要的麻烦，因为它道出了只有从业多年的剪辑师才能悟到的剪辑真理。力荐之！
——乔·哈特生，电影剪辑师，代表作有《甜心先生》、《刺杀肯尼迪》、《几近成名》、《生于七月四日》
作为一名剪辑师，我真希望在我第一次操刀的时候就能看到《看不见的剪辑》这本书。它会指导我的选择，并且强化选择的目的和重点。借由亲手剪辑影片的剪辑师的个人叙述，并配以剪切点的截图，奥斯廷的书解释了剪辑师的手艺是一种直观且抽象的艺术。
——威廉·霍耶，电影剪辑师，代表作有《神奇四侠》、《300勇士》、《守望者》
《看不见的剪辑》是一部令人印象深刻的著作。对于剪辑师复杂的想法，鲍比·奥斯廷有一种独特的视点和不可思议的洞察力。就像我在凌晨四点醒来，突然开始纠结于一个场景片段时，内心中那些反复推敲、不断斟酌的想法，她似乎都能够察觉到，这让我感到有些不安。总的来说，我认为她的书是富有教育意义而轻松有趣的。
——迈克尔·特鲁尼克，电影剪辑师，代表作有《闻香识女人》、《史密斯夫妇》、《发胶》
《看不见的剪辑》是一本无论对于学习或从事剪辑的学生，还是对于剪辑专业人士都非常重要的书。它使用影片截图将其他人仅用文字表述出来的内容呈现的栩栩如生。奥斯廷创作出了有史以来关于电影剪辑的最真实的著作之一。我希望我在从事剪辑事业之初就读了这本书，它应该成为所有电影院校的必读书目。
——兰迪·罗伯茨，美国电影剪辑师制片人协会主席
《看不见的剪辑》教会了我制作电影的最后阶段的所有复杂细节。更为重要的是，它教会了我如何将剪辑师这一行的技巧运用到我自己的作品中。无论你是个作家、导演、演员、数据分析师，甚至是小说家或剧作家，探索剪辑师如何将原始素材最终塑造成一部完整的、情感丰富的电影：创造场景架构、节奏、镜头组合甚至是对白写作，都是很有价值的一课。无论你的专业是什么，鲍比·奥斯廷的书为任何一个毕生致力于电影创作的人提供了极佳的学习资源。
——查徳·吉尔维克，电视编剧、制片人，著有《小银幕》、《大电影：作家涉足电视行业的导航》
奥斯廷使用经典影片的剧本和镜头画面截图，将我们带入剪辑的世界——将你想要知道的有关剪辑过程的所有内幕都呈现出来。对于电影人和电影粉丝来说都是一本绝佳的书。
——马修·特里，电影导演、编剧、www.hollywoodlitsales.com专栏作家
鲍比·奥斯廷的新书揭示了剪辑这门神奇艺术的秘密。它用清晰的图文展示了剪辑师魔法般的手艺。这是承接她上一本剪辑著作的佳作。
——雷·宗恩，3D电影制作人、《剪辑师协会杂志》专栏作家

"I was worried about vaginas. I was worried about what we think about vaginas, and even more worried that we don't think about them. . . . So I decided to talk to women about their vaginas, to do vagina interviews, which became vagina monologues. I talked with over two hundred women. I talked to old women, young women, married women, single women, lesbians, college professors, actors, corporate professionals, sex workers, African American women, Hispanic women, Asian American women, Native American women, Caucasian women, Jewish women. At first women were reluctant to talk. They were a little shy. But once they got going, you couldn't stop them."
So begins Eve Ensler's hilarious, eye-opening tour into the last frontier, the forbidden zone at the heart of every woman. Adapted from the award-winning one-woman show that's rocked audiences around the world, this groundbreaking book gives voice to a chorus of lusty, outrageous, poignant, and thoroughly human stories, transforming the question mark hovering over the female anatomy into a permanent victory sign. With laughter and compassion, Ensler transports her audiences to a world we've never dared to know, guaranteeing that no one who reads The Vagina Monologues will ever look at a woman's body the same way again.

NATIONAL BESTSELLER
National Book Critics Circle Award Winner
PEN/Faulkner Award Finalist
A New York Times Book Review Best Book
One of the Best Books of the Year: Boston Globe, Chicago Tribune, The Daily Beast, The Miami Herald, The Minneapolis Star-Tribune, Newsday, NPR's On Point, O, the Oprah Magazine, People, Publishers Weekly, Salon, San Francisco Chronicle, Seattle Times, Slate, Time, The Washington Post, and Village Voice
Bennie is an aging former punk rocker and record executive.Sasha isthe passionate, troubled young woman he employs. Here Jennifer Egan brilliantly reveals their pasts, along with the inner lives of a host of other characters whose paths intersect with theirs. With music pulsing on every page, A Visit from the Goon Squad is astartling, exhilarating novel of self-destruction and redemption.

From the National Book Award-winning author of "The Corrections," a collection of essays that reveal him to be one of our sharpest, toughest, and most entertaining social critics While the essays in this collection range in subject matter from the sex-advice industry to the way a supermax prison works, each one wrestles with the essential themes of Franzen's writing: the erosion of civil life and private dignity; and the hidden persistence of loneliness in postmodern, imperial America. Reprinted here for the first time is Franzen's controversial l996 investigation of the fate of the American novel in what became known as "the Harper's essay," as well as his award-winning narrative of his father's struggle with Alzheimer's disease, and a rueful account of his brief tenure as an Oprah Winfrey author.

A trade paperback reissue of National Book Award finalist Mary Gaitskill's debut collection, Bad Behavior--powerful stories about dislocation, longing, and desire which depict a disenchanted and rebellious urban fringe generation that is searching for human connection. - Now a classic: Bad Behavior made critical waves when it first published, heralding Gaitskill's arrival on the literary scene and her establishment as one of the sharpest, erotically charged, and audaciously funny writing talents of contemporary literature. Michiko Kakutani of The New York Times called it "Pinteresque," saying, "Ms. Gaitskill writes with such authority, such radar-perfect detail, that she is able to make even the most extreme situations seem real... her reportorial candor, uncompromised by sentimentality or voyeuristic charm...underscores the strength of her debut."