Books about Strangers from Amazon.com

The Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus's compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt--all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it's not mired in period philosophy.

The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he's imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial's proceedings are absurd, a parsing of incidental trivialities--that Meursault, for instance, seemed unmoved by his own mother's death and then attended a comic movie the evening after her funeral are two ostensibly damning facts--so that the eventual sentence the jury issues is both ridiculous and inevitable.

Meursault remains a cipher nearly to the story's end--dispassionate, clinical, disengaged from his own emotions. "She wanted to know if I loved her," he says of his girlfriend. "I answered the same way I had the last time, that it didn't mean anything but that I probably didn't." There's a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It's undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with "the gentle indifference of the world" remains as compelling as it was when Camus first recounted it. --Ben Guterson.
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#1 NEW YORK TIMES BESTSELLING AUTHOR FIRST TIME IN PAPERBACK

In 2060 New York, Lieutenant Eve Dallas is about to discover how the ties that bind strangers can kill..
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When Papa Bear tells the cubs why they should never talk to strangers, Sister begins to view all strangers as evil until Mama brings some common sense to the problem "The Bears' rules for safe conduct among strangers are listed on the last pages, including a rule about the privacy of a bear's body. A good book to start awareness in young children."--School Library Journal.  .
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This FlexChoice product features two components: a full-color book and a Website that includes two online chapters, audio clips, pedagogy from the regular Public Speaking, and many interactive activities. The new FlexChoice version of Public Speaking retains the distinctive and popular audience-centered approach of the full book, which emphasizes the importance of analyzing and considering the audience during the public speaking process. With an engaging writing style and numerous examples, this book serves as a foundation for speechmaking as it guides readers through every step of the process. The website includes the complete text of two chapters (18 and 19), pedagogy, many illustrations, sample speeches, online practice tests, flash cards of the key terms, and many other interactive activities. For public speaking students, or anyone looking for an interactive way to improve their speech communication..
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"A brilliant and humane philosophy for our confused age."—Samantha Power, author of A Problem from Hell

Kwame Anthony Appiah's landmark new work, featured on the cover of the New York Times Magazine, challenges the separatist doctrines espoused in books like Samuel Huntington's The Clash of Civilizations. Reviving the ancient philosophy of "cosmopolitanism," a school of thought that dates to the Cynics of the fourth century BC, Appiah traces its influence on the ethical legacies of the Enlightenment, the French Revolution, and the UN's Universal Declaration of Human Rights. Raised in Ghana, educated in England, and now a distinguished professor in the United States, Appiah promises to create a new era in which warring factions will finally put aside their supposed ideological differences and will recognize that the fundamental values held by all human beings will usher in a new era of global understanding..
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The first critical retrospective of the work of the reclusive Spider-Man co-creator

In the wake of the astonishing success of Sam Raimi's three Spider-Man movies, Steve Ditko has become known as the co-creator, with Stan Lee, of the early 1960s character that helped propel Marvel Comics' popularity on college campuses and gave it much of its cultural cachet throughout that decade. But, in the context of Steve Ditko's 50-year career in comics, his creative involvement with Spider-Man is merely the tip of the iceberg.

Ditko is known among the cartooning cognoscenti as one of the supreme visual stylists in the history of comics, as well as the most fiercely independent cartoonist of his generation. His unique style and innovative spatial designs moved from the imaginatively hallucinatory landscapes of Dr. Strange to the almost plebeian earthiness of The Amazing Spider-Man.

Ditko began his career in the 1950s drawing comics for the notorious low-budget Charlton Comics (the Roger Corman Productions of the comics industry) where he developed his craft on various genre titles. He started working for Stan Lee at Marvel Comics in 1958, churning out monster/horror stories, until he was conscripted to work on Marvel's new super-hero line, for which he provided the visual conceptions of The Hulk, Spider-Man, and Dr. Strange, and plotted and drew these characters' adventures between 1962 and 1966. By 1966, Spider-Man had become a pop culture icon, and it was then that Ditko quit drawing the character over mysterious circumstances that will, for the first time, be investigated here.

He immediately created his Ayn Rand-inspired character, Mr. A, whose first story appeared in Witzend, a black-and-white pre-underground independent comics magazine edited and published by Wally Wood, another talented stylist who chafed under the constraints of the mainstream comics publishers of the time. Ditko went on to work at various publishing companies such as DC Comics, Warren Publishing, and even Marvel Comics (albeit steadfastly refusing to ever draw Spider-Man again), writing and drawing his didactic Mr. A stories, relentlessly extolling the philosophical precepts of Ayn Rand, and, more recently, bitter visual jeremiads against the moral status quo of the comics industry.

Strange & Stranger: The World of Steve Ditko is a coffee table art book tracing Ditko's life and career, his unparalleled stylistic innovations, his strict adherence to his own (and Randian) principles, with lush displays of obscure and popular art from the thousands of pages of comics he's drawn over the last 55 years..
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Stranger in a Strange Land, winner of the 1962 Hugo Award, is the story of Valentine Michael Smith, born during, and the only survivor of, the first manned mission to Mars. Michael is raised by Martians, and he arrives on Earth as a true innocent: he has never seen a woman and has no knowledge of Earth's cultures or religions. But he brings turmoil with him, as he is the legal heir to an enormous financial empire, not to mention de facto owner of the planet Mars. With the irascible popular author Jubal Harshaw to protect him, Michael explores human morality and the meanings of love. He founds his own church, preaching free love and disseminating the psychic talents taught him by the Martians. Ultimately, he confronts the fate reserved for all messiahs.

The impact of Stranger in a Strange Land was considerable, leading many children of the 60's to set up households based on Michael's water-brother nests. Heinlein loved to pontificate through the mouths of his characters, so modern readers must be willing to overlook the occasional sour note ("Nine times out of ten, if a girl gets raped, it's partly her fault."). That aside, Stranger in a Strange Land is one of the master's best entertainments, provocative as he always loved to be. Can you grok it? --Brooks Peck.
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In the world of contemporary travel writing, Bill Bryson, the bestselling author of A Walk in the Woods, often emerges as a major contender for King of Crankiness. Granted, he complains well and humorously, but between every line of his travel books you can almost hear the tinny echo: "I wanna go home, I miss my wife."

Happily, I'm a Stranger Here Myself unleashes a new Bryson, more contemplative and less likely to toss daggers. After two decades in England, he's relocated to Hanover, New Hampshire. In this collection (drawn from dispatches for London's Night & Day magazine), he's writing from home, in close proximity to wife and family. We find a happy marriage between humor and reflection as he assesses life both in New England and in the contemporary United States. With the telescopic perspective of one who's stepped out of the American mainstream and come back after 20 years, Bryson aptly holds the mirror up to U.S. culture, capturing its absurdities--such as hotlines for dental floss, the cult of the lawsuit, and strange American injuries such as those sustained from pillows and beds. "In the time it takes you to read this," he writes, "four of my fellow citizens will somehow manage to be wounded by their bedding."

The book also reflects the sweet side of small-town USA, with columns about post-office parties, dining at diners, and Thanksgiving--when the only goal is to "get your stomach into the approximate shape of a beach ball" and be grateful. And grateful we are that the previously peripatetic Bryson has returned to the U.S., turning his eye to this land--while living at home and near his wife. Under her benevolent influence, he entertains through thoughtful insights, not sarcastic stabs. --Melissa Rossi.
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