A dramatic story of duplicity and resistance, betrayal and loyalty, set against the backdrop of World War II, by the #1 New York Times bestselling author of The Light in Hidden Places. Isa de Smit was raised in the vibrant, glittering world of her parents' small art gallery in Amsterdam, a hub of beauty, creativity, and expression, until the Nazi occupation wiped the color from her city's palette. The "degenerate" art of the Gallery de Smit is confiscated, the artists in hiding or deported, her best friend, Truus, fled to join the shadowy Dutch resistance. And masterpiece by masterpiece, the Nazis are buying and stealing her country's heritage, feeding the Third Reich's ravenous appetite for culture and art. So when the unpaid taxes threaten her beloved but empty gallery, Isa decides to make the Nazis pay. She sells them a fake--a Rembrandt copy drawn by her talented father--a sale that sets Isa perilously close to the second most hated class of people in Amsterdam: the collaborators. Isa sells her beautiful forgery to none other than Hitler himself, and on the way to the auction, discovers that Truus is part of a resistance ring to smuggle Jewish babies out of Amsterdam. But Truus cannot save more children without money. A lot of money. And Isa thinks she knows how to get it. One more forgery, a copy of an exquisite Vermeer, and the Nazis will pay for the rescue of the very children they are trying annihilate. To make the sale, though, Isa will need to learn the art of a master forger, before the children can be deported, and before she can be outed as a collaborator. And she finds an unlikely source to help her do it: the young Nazi soldier, a blackmailer and thief of Dutch art, who now says he wants to desert the German army. Yet, worth is not always seen from the surface, and a fake can be difficult to spot. Both in art, and in people. Based on the true stories of Han Van Meegeren, a master art forger who sold fakes to Hermann Goering, and Johann van Hulst, credited with saving 600 Jewish children from death in Amsterdam, Sharon Cameron weaves a gorgeously evocative thriller, simmering with twists, that looks for the forgotten color of beauty, even in an ugly world.

Author of Reese's Book Club YA Pick The Light in Hidden Places, Sharon Cameron, delivers an emotionally gripping and utterly immersive thriller, perfect for fans of Ruta Sepetys's Salt to the Sea. In 1946, Eva leaves behind the rubble of Berlin for the streets of New York City, stepping from the fiery aftermath of one war into another, far colder one, where power is more important than principles, and lies are more plentiful than the truth. Eva holds the key to a deadly secret: Project Bluebird -- a horrific experiment of the concentration camps, capable of tipping the balance of world power. Both the Americans and the Soviets want Bluebird, and it is something that neither should ever be allowed to possess. But Eva hasn't come to America for secrets or power. She hasn't even come for a new life. She has come to America for one thing: justice. And the Nazi that has escaped its net. Critically acclaimed author of The Light in Hidden Places Sharon Cameron weaves a taut and affecting thriller ripe with intrigue and romance in this alternately chilling and poignant portrait of the personal betrayals, terrifying injustices, and deadly secrets that seethe beneath the surface in the aftermath of World War II.

In French filmmaker Robert Bresson's cinematography, the linkage of fragmented, dissimilar images challenges our assumption that we know either what things are in themselves or the infinite ways in which they are entangled. The "bond" of Cameron's title refers to the astonishing connections found both within Bresson's films and across literary works by Tolstoy, Dostoevsky, and Kafka, whose visionary rethinkings of experience are akin to Bresson's in their resistance to all forms of abstraction and classification that segregate aspects of reality. Whether exploring Bresson's efforts to reassess the limits of human reason and will, Dostoevsky's subversions of Christian conventions, Tolstoy's incompatible beliefs about death, or Kafka's focus on creatures neither human nor animal, Cameron illuminates how the repeated juxtaposition of disparate, even antithetical, phenomena carves out new approaches to defining the essence of being, one where the very nature of fixed categories is brought into question. An innovative look at a classic French auteur and three giants of European literature, The Bond of the Furthest Apart will interest scholars of literature, film, ethics, aesthetics, and anyone drawn to an experimental venture in critical thought.

From the #1 New York Times bestselling author of The Light in Hidden Places comes a delicious and twisty tale, filled with spine-tingling intrigue, juicy romance, and dangerous family secrets. When a rumor that her uncle is squandering away the family fortune surfaces, Katharine Tulman is sent to his estate to have him committed to an asylum. But instead of a lunatic, Katharine discovers a genius inventor with his own set of childlike rules, who is employing a village of nine hundred people rescued from the workhouses of London. Katharine becomes torn between protecting her own livelihood and preserving the peculiar community she grows to care for deeply -- a conflict made more complicated by her developing feelings for her uncle's handsome apprentice. As the mysteries of the estate begin to unravel, it is clear that not only is her uncle's world at stake, but also the state of England as Katharine knows it. With twists and turns at every corner, this extraordinary adventure will captivate readers with its thrills and romance.

The extraordinary story of Stefania Podgorska, a Polish teenager who chose bravery and humanity by hiding thirteen Jews in her attic during WWII, from #1 New York Times bestselling author Sharon Cameron -- now a Reese's Book Club YA Pick! One knock at the door, and Stefania has a choice to make... It is 1943, and for four years, sixteen-year-old Stefania has been working for the Diamant family in their grocery store in Przemysl, Poland, singing her way into their lives and hearts. She has even made a promise to one of their sons, Izio -- a betrothal they must keep secret since she is Catholic and the Diamants are Jewish. But everything changes when the German army invades Przemysl. The Diamants are forced into the ghetto, and Stefania is alone in an occupied city, the only one left to care for Helena, her six-year-old sister. And then comes the knock at the door. Izio's brother Max has jumped from the train headed to a death camp. Stefania and Helena make the extraordinary decision to hide Max, and eventually twelve more Jews. Then they must wait, every day, for the next knock at the door, the one that will mean death. When the knock finally comes, it is two Nazi officers, requisitioning Stefania's house for the German army. With two Nazis below, thirteen hidden Jews above, and a little sister by her side, Stefania has one more excruciating choice to make. This remarkable tale of courage and humanity, based on a true story, is now a Reese's Book Club YA Pick!

The extraordinary story of Stefania Podgorska, a Polish teenager who chose bravery and humanity by hiding thirteen Jews in her attic during WWII, from #1 New York Times bestselling author Sharon Cameron - now a Reese's Book Club YA Pick! One knock at the door, and Stefania has a choice to make... It is 1943, and for four years, sixteen-year-old Stefania has been working for the Diamant family in their grocery store in Przemysl, Poland, singing her way into their lives and hearts. She has even made a promise to one of their sons, Izio -- a betrothal they must keep secret since she is Catholic and the Diamants are Jewish. But everything changes when the German army invades Przemysl. The Diamants are forced into the ghetto, and Stefania is alone in an occupied city, the only one left to care for Helena, her six-year-old sister. And then comes the knock at the door. Izio's brother Max has jumped from the train headed to a death camp. Stefania and Helena make the extraordinary decision to hide Max, and eventually twelve more Jews. Then they must wait, every day, for the next knock at the door, the one that will mean death. When the knock finally comes, it is two Nazi officers, requisitioning Stefania's house for the German army. With two Nazis below, thirteen hidden Jews above, and a little sister by her side, Stefania has one more excruciating choice to make. This remarkable tale of courage and humanity, based on a true story, is now a Reese's Book Club YA Pick!

Although Emily Dickinson copied and bound her poems into manuscript notebooks, in the century since her death her poems have been read as single lyrics with little or no regard for the context she created for them in her fascicles. Choosing Not Choosing is the first book-length consideration of the poems in their manuscript context. Sharon Cameron demonstrates that to read the poems with attention to their placement in the fascicles is to observe scenes and subjects unfolding between and among poems rather than to think of them as isolated riddles, enigmatic in both syntax and reference. Thus Choosing Not Choosing illustrates that the contextual sense of Dickinson is not the canonical sense of Dickinson.
Considering the poems in the context of the fascicles, Cameron argues that an essential refusal of choice pervades all aspects of Dickinson's poetry. Because Dickinson never chose whether she wanted her poems read as single lyrics or in sequence (nor is it clear where any fascicle text ends, or even how, in context, a poem is bounded), "not choosing" is a textual issue; it is also a formal issue because Dickinson refused to chose among poetic variants; it is a thematic issue; and, finally, it is a philosophical one, since what is produced by "not choosing" is a radical indifference to difference. Extending the readings of Dickinson offered in her earlier book Lyric Time, Cameron continues to enlarge our understanding of the work of this singular American poet.

The Corporeal Self argues that questions about identity, conceived in bodily terms, are not only relevant for Melville and Hawthorne, the two nineteenth-century authors whose works are positioned at opposite extremes of the consideration of human identity, but lie at the heart of the American literary tradition, and have, in that tradition, their own revisionary status.

Who needs a wedding ring when you can pick up a sword? A remarkable and utterly inventive novel from Sharon Cameron, author of The Dark Unwinding, which USA TODAY called "spellbindingly imaginative." History has a way of repeating itself. In the Sunken City that was once Paris, all who oppose the new revolution are being put to the blade. Except for those who disappear from their prison cells, a red-tipped rook feather left in their place. The mysterious Red Rook is a savior of the innocent, and a criminal in the eyes of the government.Meanwhile, across the sea in the Commonwealth, Sophia Bellamy's arranged marriage to the wealthy Rene Hasard is the last chance to save her family from ruin. But when the search for the Red Rook comes straight to her doorstep, Sophia discovers that her fiance is not all he seems. Which is only fair, because neither is she. As the Red Rook grows bolder and the stakes grow ever higher, Sophia and Rene find themselves locked in a tantalizing game of cat and mouse. Daring intrigue, delicious romance, and spine-tingling suspense fill the pages of this extraordinary tale from award-winning author Sharon Cameron.

From the beloved author of Rook, a brilliant, genre-bending exploration of truth and memory, love and loss in this #1 NYT bestseller about a society that undergoes collective forgetting. What isn't written, isn't remembered. Even your crimes. Nadia lives in the city of Canaan, where life is safe and structured, hemmed in by white stone walls and no memory of what came before. But every twelve years the city descends into the bloody chaos of the Forgetting, a day of no remorse, when each person's memories -- of parents, children, love, life, and self -- are lost. Unless they have been written.In Canaan, your book is your truth and your identity, and Nadia knows exactly who hasn't written the truth. Because she is the only person in Canaan who has never forgotten.But when Nadia begins to use her memories to solve the mysteries of Canaan, she discovers truths about herself and Gray, the handsome glassblower, that will change her world forever. As the anarchy of the Forgetting approaches, Nadia and Gray must stop an unseen enemy that threatens both their city and their own existence -- before the people can forget the truth. And before Gray can forget her.

DEATH PENALTY FOR ALL WHO GIVE AID TO A JEW.
DEATH TO ALL WHO HARBOUR A JEW.
DEATH TO ALL WHO FEED A JEW.
DEATH TO ALL WHO PROVIDE TRANSPORTATION TO A JEW.

One knock at the door could be the death of them all…

It is 1943, and sixteen-year-old Stefania Podgórska has been working for the Diamant family in their grocery store in Przemsyl, Poland, for four years. She has even made a promise to one of their sons, Izio - an engagement they must keep secret since she is Catholic and the Diamants are Jewish.

But everything changes when the German army invades Przemsyl. The Diamants are forced into the ghetto, and Stefania is alone in an occupied city, the only one left to care for her six-year-old sister. And then comes the knock at the door. Max Diamant has jumped from the train headed to a death camp. Stefania and Helena make the extraordinary decision to hide Max, and eventually twelve more Jews. Then they must wait, every day, for the next knock at the door, the one that could destroy everything...

A powerful novel from a New York Times Bestselling author, based on the remarkable true story of Stefania Podgórska, a Polish teenager who hid 13 Jews in her attic during World War Two.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to The Kreutzer Sonata and Other Stories This second volume of Tolstoy's shorter fiction, selected by the critic Sharon Cameron, contains 'Family Happiness', 'The Devil' and 'The Kreutzer Sonata', three of Tolstoy's unhappy-marriage stories as well as 'Father Sergius', a story of a loss of identity in ambitious pursuit of holy virtue and 'Master and Man'. Tolstoy's antidotes to delusion, fear, jealousy and even madness have an ethical thread pulled through the fabric of different themes and genres. This riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to The Death of Ivan Ilych and Other Stories Tolstoy wrote in many genres for different audiences. In this, the first of three volumes of his shorter fiction chosen and introduced by the critic Sharon Cameron, we see works originally written for children, like 'God Sees the Truth But Waits', and 'A Prisoner in the Caucasus'. They stand alongside others which show his range and accomplishment, including an early story based on his experiences in the Crimean war, 'Sevastopol in May', and the visceral intensity of one of his greatest works, 'The Death of Ivan Ilych'. This riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to Hadji Murad and Other Stories This, the third volume of Tolstoy's shorter fiction concentrates on his later stories, including one of his greatest, 'Hadji Murad'. In the stark form of homily that shapes these later works, life considered as one's own has no rational meaning. From the chain of events that follows in the wake of two schoolboys' deception in 'The Forged Coupon' to the disillusionment of the narrator in 'After the Ball' we see, in Virginia Woolf's observation, that Tolstoy puts at the centre of his writing one 'who gathers into himself all experience, turns the world round between his fingers, and never ceases to ask, even as he enjoys it, what is the meaning of it'. The riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.

Eating disorders, depression, and self-injury are often taboo topics in our culture-especially within the church. Sharon Cameron seeks to change that with I'm Gonna Freaking Recover...Am I? During a four-year battle with anorexia and bulimia, Sharon faithfully journaled her thoughts, feelings, and daily struggles with self-starvation, binging, and purging in order to share her amazing, courageous journey.

With raw honesty, Sharon challenges the common misconception that such issues do not exist among Christians or those who otherwise look "together." Instead of masking perfection, Sharon presents herself as an example of someone who is truthful, real, and imperfect. She describes the early days of her disease and how she felt compelled to exercise continuously to keep her "perfect" figure for gymnastics class.

As her bulimia and anorexia began to manifest itself after her graduation from high school, Sharon began to spiral downward into a maze of guilt, hopelessness, and pain.
Yet despite it all, Sharon clung to her faith, and with the support of friends, family, and the medical community, she started healing. She documents her inpatient treatment, her many relapses and triumphs, and how she continues to persevere.

I'm Gonna Freaking Recover...Am I? provides hope and comfort to those experiencing the secret thoughts, behaviors, treatment, and recovery of eating disorders. You're not alone in your struggle

Philosophers have long debated the subjects of person and personhood. Sharon Cameron ushers this debate into the literary realm by considering impersonality in the works of major American writers and figures of international modernism--writers for whom personal identity is inconsequential and even imaginary. In essays on William Empson, Jonathan Edwards, Ralph Waldo Emerson, Herman Melville, T. S. Eliot, and Simone Weil, Cameron examines the impulse to hollow out the core of human distinctiveness, to construct a voice that is no one's voice, to fashion a character without meaningful attributes, a being that is virtually anonymous.
"To consent to being anonymous," Weil wrote, "is to bear witness to the truth. But how is this compatible with social life and its labels?" Throughout these essays Cameron examines the friction, even violence, set in motion from such incompatibility--from a "truth" that has no social foundation. "Impersonality" investigates the uncompromising nature of writing that suspends, eclipses, and even destroys the person as a social, political, or individual entity, of writing that engages with personal identity at the moment when its usual markers vanish or dissolve.

"Lyric Time "offers a detailed critical reading of a particularly difficult poet, an analysis of the dominance of temporal structures and concerns in the body of her poetry, and finally, an important original contribution to a theory of the lyric.

Poised between analysis of Emily Dickinson's poetic texts and theoretical inquiry, "Lyric Time "suggests that the temporal problems of Dickinson's poems are frequently exaggerations of the features that distinguish the lyric as a genre. "It is precisely the distance some of Dickinson's poems go toward the far end of coherence, precisely the outlandishness of their extremity, that allows us to see, magnified, the fine workings of more conventional lyrics," writes Sharon Cameron.

"Lyric Time" is written for the literary audience at large--Dickinsonians, romanticists, theorists, anyone interested in American poetry, or in poetry at all, and especially anyone who admires a risky book that succeeds.

"Thinking in Henry James" identifies what is genuinely strange and radical about James's concept of consciousness--first, the idea that it may not always be situated within this or that person but rather exists outside or "between," in some transpersonal place; and second, the idea that consciousness may have power over things and people outside the person who thinks. Examining these and other counterintuitive representations of consciousness, Cameron asks, "How do we make sense of these conceptions of thinking?"

At his death, Henry Thoreau left the majority of his writing unpublished. The bulk of this material is a journal that he kept for twenty-four years. Sharon Cameron's major claim is that this private work (the" Journal") was Thoreau's primary work, taking precedence over the books that he published in his lifetime. Her controversial thesis views Thoreau's "Journal "as a composition that confounds the distinction between public and private--the basis on which our conventional treatment of discourse depends.

Philosophers have long debated the subjects of person and personhood. Sharon Cameron ushers this debate into the literary realm by considering impersonality in the works of major American writers and figures of international modernism--writers for whom personal identity is inconsequential and even imaginary. In essays on William Empson, Jonathan Edwards, Ralph Waldo Emerson, Herman Melville, T. S. Eliot, and Simone Weil, Cameron examines the impulse to hollow out the core of human distinctiveness, to construct a voice that is no one's voice, to fashion a character without meaningful attributes, a being that is virtually anonymous.
"To consent to being anonymous," Weil wrote, "is to bear witness to the truth. But how is this compatible with social life and its labels?" Throughout these essays Cameron examines the friction, even violence, set in motion from such incompatibility--from a "truth" that has no social foundation. "Impersonality" investigates the uncompromising nature of writing that suspends, eclipses, and even destroys the person as a social, political, or individual entity, of writing that engages with personal identity at the moment when its usual markers vanish or dissolve.

Although Emily Dickinson copied and bound her poems into manuscript notebooks, in the century since her death her poems have been read as single lyrics with little or no regard for the context she created for them in her fascicles. Choosing Not Choosing is the first book-length consideration of the poems in their manuscript context. Sharon Cameron demonstrates that to read the poems with attention to their placement in the fascicles is to observe scenes and subjects unfolding between and among poems rather than to think of them as isolated riddles, enigmatic in both syntax and reference. Thus Choosing Not Choosing illustrates that the contextual sense of Dickinson is not the canonical sense of Dickinson.
Considering the poems in the context of the fascicles, Cameron argues that an essential refusal of choice pervades all aspects of Dickinson's poetry. Because Dickinson never chose whether she wanted her poems read as single lyrics or in sequence (nor is it clear where any fascicle text ends, or even how, in context, a poem is bounded), "not choosing" is a textual issue; it is also a formal issue because Dickinson refused to chose among poetic variants; it is a thematic issue; and, finally, it is a philosophical one, since what is produced by "not choosing" is a radical indifference to difference. Extending the readings of Dickinson offered in her earlier book Lyric Time, Cameron continues to enlarge our understanding of the work of this singular American poet.