Because composition students will major in a wide variety of disciplines, Fields of Reading draws on the major divisions of the curriculum -- arts and humanities, social sciences and public affairs, and sciences and technologies -- to present well-crafted and high-quality writing from these fields. Chosen by five editors who are all distinguished teachers and writers, the selections are organized in each division by writing purpose (reflecting, reporting, explaining, and arguing) in order to show how writing must be suited to a particular situation in order to be effective.
Kate Telman is a senior executive officer in The Business, a powerful and massively discreet transglobal organisation. Financially transparent, internally democratic and disavowing conventional familial inheritance, the character of The Business seems, even to Kate, to be vague to the point of invisibility. It possesses, allegedly, a book of Leonardo cartoons, several sets of Crown Jewels and wants to buy its own State in order to acquire a seat at the United Nations. Kate's job is to keep abreast of current technological developments and her global reach encompasses.
Dark and riveting, Morgan’s entry in the very popular dystopian, postapocalyptic YA subgenre blends science fiction, romance, and characters’ shadow sides with a mostly engrossing plotline. In a future lived on spaceships, long after the earth’s destruction, teenage delinquents are usually sentenced to die for their transgressions. Then 100 of them, who are deemed disposable guinea pigs, are instead sent to the ravaged earth in order to see if it is habitable for humans. Clarke, Wells, Bellamy, and Glass are the four narrators. A mash-up of The Lord of the Flies, Across the Universe, and The Hunger Games this has already been turned into a television series.
In order to bring some minimal amount of order to the chaos that almost inevitably attends the use of the word ‘existential’ in a linguistic investigation, the author reserved the term existential sentence (ES) to designate all and only those English sentences in which there appears an occurrence of the unstressed, non-deictic, ‘existential’ there.
The book is set between episode III and IV, but is jumps backwards sometimes in order to show Tarkin's history and why he thinks the way he does about Law and Order.
