The only work of its kind to survive from classical antiquity, the Library of Apollodorus is a unique guide to Greek mythology, from the origins of the universe to the Trojan War. Apollodorus' Library has been used as a source book by classicists from the time of its compilation in the 1st-2nd century BC to the present, influencing writers from antiquity to Robert Graves. It provides a complete history of Greek myth, telling the story of each of the great families of heroic mythology, and the various adventures associated with the main heroes and heroines, from Jason and Perseus to Heracles and Helen of Troy. As a primary source for Greek myth, as a reference work, and as an indication of how the Greeks themselves viewed their mythical traditions, the Library is indispensable to anyone who has an interest in classical mythology. Robin Hard's accessible and fluent translation is supplemented by comprehensive notes, a map and full genealogical tables. The introduction gives a detailed account of the Library's sources and situates it within the fascinating narrative traditions of Greek mythology. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

In the "Oresteia" - the only trilogy in Greek drama which survives from antiquity - Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos. Moving from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, its spirit of struggle and regeneration is eternal.

'With fair-tressed Demeter, the sacred goddess, my song begins, With herself and her slim-ankled daughter, whom Aidoneus once Abducted...' Most people are familiar, at least by repute, with the two great epics of Homer, the Iliad and the Odyssey, but few are aware that other poems survive that were attributed to Homer in ancient times. The Homeric Hymns are now known to be the work of various poets working in the same tradition, probably during the seventh and sixth centuries BC. They honour the Greek gods, and recount some of the most attractive of the Greek myths. Four of them (Hymns 2-5) stand out by reason of their length and quality. The Hymn to Demeter tells what happened when Hades, lord of the dead, abducted Persephone, Demeter's daughter. The Hymn to Apollo describes Apollo's birth and the foundation of his Delphic oracle. In the Hymn to Hermes Apollo's cattle are stolen by a felonious infant - Hermes, god of thieves. In the Hymn to Aphrodite the goddess of love herself becomes infatuated with a mortal man, the Trojan prince Ankhises. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Argonautica is the dramatic story of Jason's quest for the Golden Fleece and his relations with the dangerous princess Medea. The only surviving Greek epic to bridge the gap between Homer and late antiquity, this epic poem is the crowning literary achievement of the Ptolemaic court at Alexandria, written by Appolonius of Rhodes in the third century BC. Appollonius explores many of the fundamental aspects of life in a highly original way: love, deceit, heroism, human ignorance of the divine, and the limits of science, and offers a gripping and sometimes disturbing tale in the process. This major new prose translation combines readability with accuracy and an attention to detail that will appeal to general readers and classicists alike.

Hesiod describes himself as a Boeotian shepherd who heard the Muses call upon him to sing about the gods. His exact dates are unknown, but he has often been considered a younger contemporary of Homer. This volume of the new Loeb Classical Library edition offers a general introduction, a fluid translation facing an improved Greek text of Hesiod's two extant poems, and a generous selection of testimonia from a wide variety of ancient sources regarding Hesiod's life, works, and reception.
In Theogony Hesiod charts the history of the divine world, narrating the origin of the universe and the rise of the gods, from first beginnings to the triumph of Zeus, and reporting on the progeny of Zeus and of goddesses in union with mortal men. In Works and Days Hesiod shifts his attention to the world of men, delivering moral precepts and practical advice regarding agriculture, navigation, and many other matters; along the way he gives us the myths of Pandora and of the Golden, Silver, and other Races of Men.

● 《阴影线》以现实主义的方式创造了一个奇异幻想的世界，因为世界本身就是奇异的、幻想的、神秘莫测的、不可理解的。——博尔赫斯
● 康拉德是近代伟大的境界与人格的创造者。——老舍
● 人们再次阅读某一位作家的作品的原因就是喜欢他，所以我喜欢康拉德和圣-埃克絮佩里。——马尔克斯
● 我爱康拉德，因为他在深渊航行而不沉入其中。——卡尔维诺
《阴影线：一部自白》是英国作家约瑟夫•康拉德在其写作生涯后期创作的一部自传体中篇小说，以第一人称记叙了一位青年船长的海上冒险。主人公回忆道，在他刚刚结束一段航程、打算辞职又无所适从时，忽然意外地得到了一份任何海员都梦寐以求的工作——船长。这是他的第一次，热情满腔，却时间仓促、准备不周。帆船匆匆驶入大海，船员竟接连病倒。更糟糕的是，他们驶入了热带无风区，进退维谷。这条船同时匮乏人力与药品，几乎是在死亡的边缘苦苦挣扎。偏偏就在这时，一场铺天盖地的热带风暴又席卷而来……这次航行成为了康拉德人生道路上的一次重要成长经历。书名“阴影线”寓意的正是这条年少与成熟之间的分隔线，它警示着海上漂泊的作者以及无数在迷茫的大海上漂流的读者：“必须要走出少年时代了。”

故事始于“二战”尾声一艘驶往冲绳的舰艇，主人公菲利普·鲍曼是一名年轻的海军军官。之后的几十年，他回到纽约成为一家出版社的编辑，在图书交易、文学事业和一场又一场晚宴聚会中安身立命。他结婚又离婚，新恋情接踵而来，肉体激情周而复始，也经历了残酷的背叛。老友们渐行渐远，房子买下又卖掉，父母离世，爱的纽带褪色凋零。当我们最后一次见到鲍曼，他已到了认真思考死亡的年纪：他想要再回太平洋，那里“有他生命中唯一勇敢的部分”。
《这一切》是一个普通人一生的轨迹，也是一部丰富的社会编年史，叙事视角自如切换于主人公与数十位人物之间。大量洞察敏锐的细节赋予了它史诗般的品质，场景、插曲与人物造像如钻石切面般精准利落，故事及其容纳的情感在其中不断扩张蔓延，映照出所有出场人物在时光中流逝的生命轮廓。
詹姆斯·索特被誉为“美国当代文学的英雄”“作家中周知的隐秘大师”，他确切地知道什么能让哪怕最微小的事件值得被讲述，并通过魔法般的文字魅力，使其在黯淡的日常中显露光辉。他在87岁完成的这部臻于完美的作品，犹如最后一刻密集涌现的往事，最终实现的效果是仿佛历尽了所有的生活：这些生活共同完成了一个人的一生。作者将记忆作为抵御遗忘的堡垒，深刻地唤起了一整个难以估量的世界，“那曾经向他敞开，并且被他拥有的生活”。
.
评论推荐：
★ 在某些时刻，生活被不可逆转地切分为过去和未来。只用一个句子，索特就能揭示出一个人的全部历史，渴望与恐惧、希望与需要之间复杂的相互作用——人何以陷入如今的境地。
——《纽约时报》
★ 就像海明威《乞力马扎罗的雪》中在垂死作家的脑际接连涌现的紧凑故事一样，《这一切》中的故事具有明亮而动人的生命力，它们深刻地唤起了一个人的生活，以及一整个消逝的世界……这部小说包含的生活与情感的范围不断扩张，并且，通过神秘的魔法般的移情，我们越来越深地介入到鲍曼的生活之中，虽然他本身只是一个稀松平常的人物。
——《卫报》
★ “詹姆斯•索特写出的句子胜过当今任何一个美国写作者，这在小说读者中是一个信仰。”
——理查德•福特（普利策文学奖得主）
★ “对于那些会从阅读中获得强烈乐趣甚至上瘾的人来说，他是一个特别令人满足的作家。我将詹姆斯•索特列为少数我渴望阅读其全部作品的北美作家之一，并且迫不及待想看他还未出版的书。”
——苏珊•桑塔格

《苏特里》是美国当代著名作家科马克•麦卡锡1979年出版的第四部长篇小说，也是他最后一部南方题材小说，带有部分自传色彩。本书是麦卡锡的代表作，被认为是他进入创作巅峰状态的作品。麦卡锡以独特的语言和百科全书式的词汇，创造了一片大河边的人类荒原。
麦卡锡目前共出版十部长篇小说，《苏特里》是篇幅最长的一部，他称这本书写了二十年，评论家认为本书可与詹姆斯·乔伊斯的《尤利西斯》、约翰·斯坦贝克的《罐头厂街》和马克·吐温的《哈克贝利·费恩》相提并论。
这部作品几乎没有完整的情节，而是由一个个场景和对话组成。小说设定在1950年代的诺克斯维尔。主角苏特里放弃优渥的生活，离开富裕家庭和他知识分子的过去，选择在诺克斯维尔田纳西河上的一艘破旧船屋上钓鱼卖给餐馆为生，过着自我放逐的生活。船屋靠近棚户区，周边多为怪人和罪犯：隐士、酒鬼、小偷、拾荒者、掘墓人、采蚌人和女巫。他和酒馆老板黑人琼斯以及因对西瓜有特殊癖好入狱的哈罗盖特成为好友。每天晚上他都会和任何一个被城市遗弃的流浪汉喝酒，直到在陌生的田野或巷道中昏倒，还曾因公开醉酒而被捕。在这片被遗弃的社会边缘，他以超然的态度和幽默感有尊严地度过荒芜与贫困。

Six episodes chronicle the lives of a family in Roman Britain over three hundred years.

The only hardcover omnibus of the best-selling and award-winning fantasy trilogy, in a Contemporary Classics edition.

Philip Pullman's trilogy is a masterpiece that transcends genre and appeals to readers of all ages. His heroine, Lyra, is an orphan living in a parallel universe in which science, theology, and magic are entwined. The epic story that takes us through the three novels is not only a spellbinding adventure featuring armored polar bears, magical devices, witches, and daemons, it is also an audacious and profound reimagining of Milton's Paradise Lost that has already inspired a number of serious books of literary criticism. Like J. R. R. Tolkien and C. S. Lewis before him, Pullman has invented a richly detailed and marvelously imagined world, complex and thought-provoking enough to enthrall adults as well as younger readers. An utterly entrancing blend of metaphysical speculation and bravura storytelling, His Dark Materials is a monumental and enduring achievement.

Drawing on thirty years of writing about Greek and Roman history, Mary Beard takes us on an exhilarating journey through the extraordinary riches of the classical heritage, and why it still matters.
Mary Beard is one of the world's best-known classicists - a brilliant academic, with a rare gift for communicating with a wide audience both though her TV presenting and her books.In a series of sparkling essays, she explores our rich classical heritage - from Greek drama to Roman jokes, introducing some larger-than-life characters of classical history, such as Alexander the Great, Nero and Boudicca. She also invites you into the places where Greeks and Romans lived and died, from the palace at Knossos to Cleopatra's Alexandria - and reveals the often hidden world of slaves. She brings back to life some of the greatest writers of antiquity - including Thucydides, Cicero and Tacitus - and takes a fresh look at both scholarly controversies and popular interpretations of the ancient world, from The Golden Bough to Asterix. The fruit of over thirty years in the world of classical scholarship, Classical Traditions captures the world of antiquity and its modern significance with wit, verve and scholarly expertise.

《上面很安静》的背景发生在荷兰的乡间。亨克和赫尔默是一对双胞胎兄弟，弟弟亨克勤于农活，深受父亲欢心，哥哥赫尔默不喜欢农场，渴望去城市生活，因此与父亲关系疏远。谁料，年轻的弟弟在一场车祸中丧生，一心想离开农场的赫尔默被迫中断大学学业，从此与牛羊为伍。三十年单调无变化的生活，除了四季的轮替，宛若一张白纸，连时间都停滞了。这期间母亲离世，父亲年老体衰、卧床不起，冷漠疏离的父子关系不仅没有修复，而且日趋恶化。得不到父亲宠爱、仿佛总是活在亨克阴影下的赫尔默，在弟弟身亡之后，非但没有摆脱影子人的身份、建起独立的自我，反而跌入更深的虚空中，找不到人生存在的实质意义。一日，亨克生前女友丽特的来信，给赫尔默死水般的生活激起一丝涟漪：早已嫁人生子的丽特，请求赫尔默接纳自己无所事事的儿子到农场帮工。生活因这个年轻人的到来而发生了彻底的变化……
小说文笔纯净清新，将蓝天下大自然的宁静悠远和主人公淡淡的忧伤落寞刻画得楚楚动人，大量日常生活细节的描述，看似平淡寡味，却体现作者不动声色的克制。

有许多关于贫困的事情是一目了然的。要认识原本意义上的贫困，并理解其原因，我们根本不需要精心设计的判断准则、精巧定义的贫困度量和寻根问底的分析方法。那些关于穷人的冗长啰嗦的经院研究，那些使用《李尔王》中诸如“居无定所、衣衫褴褛、食不果腹、疲惫不堪”等绘画般的描述，难免会使人感到厌烦。有些事情，就像李尔王告诉瞎子格洛斯特的那样，“一个人不用眼睛看就能知道事情是如何发生的”。的确，有许多关于贫困的事情就是这么一目了然。
但是，并非所有关于贫困的事情都是如此简单明了。当我们离开极端的和原生的贫困时，对于贫困人口的识别、甚至对于贫困的判断都会变得模糊不清。目前，可供使用的贫穷识别方法有许多种(如生理上的基本需要得不到满足、相对贫困等)，不过，每一种方法中都还存在大量有待解决的技术问题。另外，要从整体上描绘贫困，还必须超越对贫困人口的“识别”，因为，要在贫困人口特征的基础上形成关于贫困的整体画面，“加总”问题将无法回避。最后——也是最重要的，贫困产生的原因是很难回答的，贫困的直接原因往往比较清楚，无需做太多分析，但其最终原因却是模糊不清的，是一个还远远没有定论的问题。在近期关于饥饿现象原因的研究中，贫困的起因具有特殊重要性。
这本专著所关注的正是这些问题，本书的重点是关于饥饿的一般原因和饥荒的具体原因。第1章从一般意义上引入了基本方法，包括对“权利体系” 分析。之所以在详细论述贫穷概念之前就进行这一分析，是因为“权利方法”是这本著作的核心。第2章和第3章研究了关于贫困的概念和度量问题。第4章从一般意义上论述了饥饿这一特殊问题。第5章分析“权利方法”。随后几章分析了发生在世界不同地方的一些案例：1943年的孟加拉大饥荒(第6章)、1973至 1975年的埃塞俄比亚饥荒(第7章)、70年代早期非洲萨赫勒地区的饥荒(第8章)以及1974年的孟加拉国饥荒(第9章)；第10章是关于“权利方法”的总结，即在具体层面上分析了一般贫困与权利体系的联系。
本书有四个附录。附录A给出了权利体系的一个重要方面－交换权利的公式化分析。附录B借助于一些模型说明了“交换权利失败” (failure of exchange entitlement)在饥荒发展过程中的作用。附录C研究了贫困的度量问题，详细阐明了已经得到应用和已经提出的各种度量方法。最后，附录D以 1943年孟加拉大饥荒为例，分析了饥荒死亡人口的分布问题。
本书原本是为国际劳工局世界就业计划(World Employment Programme of ILO)准备的。我十分感谢他们的耐心，因为本书的完成比我原来的设想要迟得多。我也衷心感谢费利克斯·波克特(Felix Paukert)等人与我关于收入分配和就业计划的有益讨论。朱迪思·海尔(Judith Heyer)和乔斯莱恩·肯奇(Jocelyn Kynch)对本书初稿的评论也使我受益良多。很多学者都给我提出了非常有启发性的建议，他们是：莫胡狄恩·阿拉姆基尔(Mohuddin Alam-gir)、苏底尔·阿南德(Sudhir Anand)、阿塞特·布赫塔克基亚(Asit Bhattacharya)、罗伯特·卡森(Robert Cassen)、迪盘卡·查第尔基(Dipankar Chatterjee)、普拉米特·肖德赫利(Pramit Chaudhuri)、阿米亚·达斯哥普塔(Amiya Dasgupta)、梅纳德·德塞(Meghnad Desai)、约翰·弗莱明(John Flemming)、马戴恩古普尔·古什(Madangopal Ghosh)、大卫·格拉斯(David Glass)、卢斯·格拉斯(Ruth Glass)、泰仑斯·戈曼(Terence Gorman)、凯斯·戈利芬(Keith Griffin)、卡尔·哈米尔顿(Carl Hamilton)、鲁戈·哈弋(Roger Hay)、朱利斯·霍尔特(Julius Holt)、雷弗·约翰森(Leif Johansen)、J．克里西纳莫第(J．Krishnamurti)、穆库·马加姆达(Mukul Majumdar)、阿肖克·米特拉(Ashok Mitra)、约翰·缪尔鲍尔(John Muellbauer)、苏奇·佩恩(Suzy Paine)、戴比达斯·雷(Debidas Ray)、戴布拉·雷(Debrai Ray)、萨米尔·雷(Samir Ray)、塔班·雷坎德胡利(Tapan Raychaudhuri)、卡尔·里斯金(Carl Riskin)、乔恩·罗宾逊(Joan RobinSon)、苏曼·萨卡（Suman Sarkar)、约翰·希曼(John Seaman)、里翰·索布罕(Rehan Sobhan)、K.苏德拉姆(K.Sundaram)、加罗斯拉夫·瓦尼克(Jaroslav Vanek)和亨利·万(Henry Wan)等。
本书中还引用了我早期的一些文章，这些文章发表在：《经济和政治周刊》(Economic and Political Weekly，1973、1976)、《计量经济学》(Econometrica，1976、1977)，《经济研究评论》(Review of Economic Studies，1976)、《剑桥经济学月刊》(Cambridge Journal of Economics，1977)、《斯堪的纳维亚经济学月刊》(Scandinavian Journal of Economics，1979)、《经济学文献月刊》(Journal of Economic Literature，1979)、《世界发展》(World Development，1980)和《经济学季刊》(Quarterly Journal of Economics，1981)。
最后，需要说明的是，虽然从附录A到附录C，都使用了一些数学概念和符号，但是，本书的分析基本上是非公式化的。对详细内容有兴趣的读者可以参阅附录，不过、即使不参阅附录，理解本书的主要论点(包括案例研究)也不会有任何困难。由于本书的主题非常重要，我将尽可能使其通俗一些。可以不谦虚地说，在这本专题著作中，我所作出的分析是相当有实际意义的。

古有金圣叹，善于揭橥《水浒传》用笔之妙，从人性与道德角度品评人物，三百年来无人能出其右。今有鲍鹏山，从文化、制度的视角，在道德与人性的纠结中，文化与制度的困惑里，以激情熔铸文字，以性情体察英雄，笔如刀品评人物，心如火洞悉世道，每有惊人之语，常发不刊之论。鲍氏批评本之于金圣叹，继承其形式突破其格局，金氏说到说对之处，固不可掩；金氏未及未达之境，正需开拓。盖新时代，有新时代之高度；新作者，有新作者之角度也。三百年来，多少读者拍案叹；三百年后，《水浒传》宜有新评点！

Good product marketing is the difference between products that lead their markets and those that go nowhere, yet it remains widely misunderstood.
In LOVED: How to Rethink Marketing for Tech Products, Silicon Valley veteran Martina Lauchengco delivers a clear and intuitive guide to craft strategies to bring your product to market, apply customer insights, shape how the world sees your product, and inspire customers to be evangelists. You’ll learn these four fundamentals of best-in-class product marketing plus how to implement them, hire for them, and lead and organize the role for maximum impact.
Using stories grounded in her own experiences as well as examples from the front lines of leading companies like Apple, Dropbox, Microsoft, Netflix, and Salesforce, this book provides one-sheet frameworks and agile marketing practices to simplify and elevate your product marketing.
Written for product teams, marketers, founders and company leaders, LOVED describes the key skills, competencies, and actions you must take to do product marketing well and succeed in this crucial function. It invites a customer- and market-centric approach that helps turn customers into raving fans and ensure your products realize their business potential.
LOVED is an insightful and exciting opportunity for you to rethink your company’s marketing by focusing on better product marketing.

"John Maeda deconstructs the digital world with the earned authority of an M.I.T.-trained computer scientist and a card-carrying artist. Being ambidextrous with Eastern and Western cultures, he can see things most of us overlook. The result is a humor and expression that brings out the best in computers and art."--Nicholas Negroponte John Maeda is one of the world's leading experimental graphic designers and is quickly becoming a digital culture icon. His early preoccupation with the intersection of computer programming and digital art has resulted in a fascinating, interactive, and stunningly beautiful collection of work. Maeda has pioneered many of the key expressive elements that are prevalent on the web today. Among his most well-known works are "The Reactive Square," which features a simple black square on a computer screen that changes shape if one yells at it, and "Time Paint," in which paint flies across the screen. He has created innovative, interactive calendars, digital services, and advertisements for companies such as Sony, Shiseido, and Absolut Vodka. This is the first publication to present a complete overview of Maeda's work and philosophy. A glorious visual exploration of ideas and graphic form, "Maeda @ Media" takes you through Maeda's beginnings in early computerized printouts, to his reactive graphics on CD-ROM, to his dynamic experiments on the web, to his pedagogical approach to digital visual art, and finally to his overarching quest to understand the very nature of the relationship between technology and creativity. Six thematic chapters provide an overview of his entire career and research. But this is not just a catalog of older work: interspersedbetween each chapter is a new visual essay that has been created exclusively for this publication to underline each of the major themes. Coming together in a massive 480 pages, printed in a dazzling array of color combinations on three different kinds of paper, the result is a manifesto, a finely crafted manual and inspiration sourcebook all in one. With over 1000 illustrations.

In the French Quarter of New Orleans the Mardi Gras revellers concealed a group of pleasure-seekers who preferred to wear black. For Zillah, Molochai and Twig the party had been going on for centuries, fuelled by sexual frenzy, green Chartreuse and a cocktail of vodka and innocent blood.
Nothing was born in horror and brought up in suburban Maryland. Even before he ran away to find his true home, he suspected he was different from other teenagers. And when he had his first taste of human blood, he knew he was right.
Ghost was the visionary singer of the band Lost Souls? When Nothing was drawn into Zillah’s fatal circle, Ghost had to decide whether he should try to save the boy from himself — or abandon him to his bloody birthright.