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The 132 poems, most of which here make their English-language debut, represent the three major languages of medieval Islam--Arabic, Persian, and Turkish--with the remainder from Hebrew. They span more than a thousand years, from the seventh to the early eighteenth century, when poetry, like so much else, was shattered and reshaped by the impact of the West. They range from panegyric and satire to religious poetry and lyrics about wine, women, and love. Lewis begins with an introduction on the place of poets and poetry in Middle Eastern history and concludes with biographical notes on all the poets.
We waited in silence, each man occupied with his own secret thoughts and no doubt wrestling with his own secret fears. I think that half-hour was probably the worst I have ever spent. Slowly and inexorably the minutes passed, second by second, and the time approached which might be the end of everything for me. All my efforts to screw up my courage, all my fatalistic self-assurances that what is to be, will be, became more and more useless, and hope seemed to ooze away with every second... Frederick Noakes, 1917. Guardsman Frederick Noakes fought on the Western Front for the last 18 months of the Great War. In 1934, he wanted to write up his adventures while his memory was still undimmed, using the letters he wrote home during 19171919 as the basis for the memoir. His eloquent text, with his views on politics, morale and the trenches, moved friends to persuade Noakes to publish the work privately in 1952. Fen Noakes did not consider himself a hero, but the dignity with which he conducted himself under the most dreadful conditions suggest otherwise. His articulate and effective prose gives a voice to the average soldier in the trenches. Professor Peter Simkins provides an introduction to this new edition, which also includes a foreword by Carole Noakes, niece of the author.
We were riding on top of the world. We were two women in our fifties and we probably should have been anywhere other than where we were at that moment. The scenery was spectacular, but I was beginning to wonder if it was worth dying for . . . literally. The loose rocks and tight switchbacks had cost us precious time. This was not a place we wanted to get caught after dark. Edie and I rode in silence as we negotiated the treacherous footing. We had known we would face danger on this ride, but I had never envisioned anything like the scenario we were currently dealing with. My senses seemed cross wired. At a time when I should have logically been bordering on panic, I found myself engulfed in an eerie sense of calm. Fear was a luxury we couldn’t afford at the moment. If we got off this mountain alive, there would be plenty of time to be scared as we recalled the ordeal. The trail was incredibly narrow. The climb had been steep and rugged. We would reach an altitude in excess of seven thousand four hundred feet as we rode the crest of Mt. Francis. On our immediate left, a sheer rock wall rose vertically with occasional outcroppings that jutted into the trail. Our knees, at times, rubbed the craggy rock face. A glance to the right brought no comfort. A severe drop off afforded us a view of the tops of trees, hundreds of feet below. We were riding on a trail that was no more than a narrow ledge on the face of the mountain. For some reason known only to them, both horses insisted on walking along the extreme outer edge of the trail. They seemed to feel more comfortable on the edge, rather than being crowded by the wall. Both Edie and I found ourselves sitting off center and leaning slightly toward the wall. If our horses lost their footing, we hoped to be able to jump clear of them and land on the trail. A lump the size of a softball threatened to choke me each time I heard a piece of the trail crumble beneath our horse’s feet, sending rock and dirt tumbling over the edge. We had reached a point of no return. We had no idea what lay ahead of us . . . there was no way to turn around . . . no way to back the horses out of where we were . . . and at this point, dismounting was a physical impossibility due to the close proximity of the rock face and the narrow width of the trail. We both knew that we were in a potentially life threatening situation. If a cougar or a snake spooked the horses, we would all have a one way ticket to the rocky bottom of the canyon far below. That gruesome thought was still in my mind when our bad situation grew decidedly more complicated. As I focused on the trail ahead, my mind rejected what my eyes could clearly see. Thirty feet ahead of us, the trail simply disappeared! All I could see beyond that point was air . . . and lots of it. I wondered if Edie, who rode only a few feet behind me, saw what I saw . . . She did.
Fanny Templeton is a young widow and worried about her stepdaughter, who is about to marry the penniless Freddie March. Yet her own life is about to change, as she travels to France and then Brussels with her employer and encounters March’s older brother Lord Ordley. She falls madly in love, but nothing is simple when it is wartime. The pair manages to get back to England, but danger continues to follow the couple. The memorable story written in the early 21st century by Marguerite Bell, a pseudonym of Ida Pollock, provides a love tale set in romantic and tragic circumstances. A must-read for fans of literary romance and surprising twists of fate. Marguerite Bell is a pseudonym of Ida Pollock (1908 – 2013), a highly successful British writer of over 125 romance novels translated into numerous languages and published across the world. Ida Pollock has sold millions of copies over her 90-year career. Pollock began writing when she was 10 years old. Ida has travelled widely, living in several different countries. She continues to be popular amongst both her devoted fan base and new readers alike. Pollock has been referred to as the "world's oldest novelist" who was still active at 105 and continued writing until her death. On the occasion of her 105th birthday, Pollock was appointed honorary vice-president of the Romantic Novelists' Association, having been one of its founding members. Ida Pollock wrote in a wide variety of pseudonyms: Joan M. Allen, Susan Barrie, Pamela Kent, Averil Ives, Anita Charles, Barbara Rowan, Jane Beaufort, Rose Burghley, Mary Whistler and Marguerite Bell.
Brave Music of a Distant Drum by Manu Herbstein Pdf
Ama is an enslaved African. In Brazil, near the end of her life, she is determined that her story shall survive for future generations. Her story is one of violence and heartache, but also of courage, hope, determination, and ultimately, love. Since Ama is blind, she has to dictate to her long separated only son, Kwame Zumbi. As his mother’s history is revealed to him, Kwame’s world changes forever.
Sounds of Distant Drums by Alfred Sandison Hutchison Pdf
This book of selected poems by the Rhodesian/South African poet ,Alf Hutchison, powerfully illustrated by his youngest daughter Fiona, reflects upon love passion hatred remorse jubilation xenophobiafriendship and mans inhumanity to man. It is a collection of mainly reflective poetry which will at times reduce the reader to tears bring joy to the heart and soul of lovers and friendsbring a sense of patriotism to the lost tribes of Rhodesia and South Africa in the Diasporabut most of all I hope and pray that it makes you think
The Rumble of a Distant Drum opens in 1673 when Marquette and Jolliet sailed down the Mississippi River and found the Quapaw already in residence in the Arkansas Post, where the Arkansas River flowed into the Mississippi. Here, they established the first European settlement in this part of the country, thirty years before New Orleans and eighty years before St. Louis. Morris S. Arnold draws on his many years of archival research and writing on colonial Arkansas to produce this elegant account of the cultural intersections of the French and Spanish with the native American peoples. He demonstrates that the Quapaws and Frenchmen created a highly symbiotic society in which the two disparate peoples became connected in complex and subtle ways - through intermarriage, trade, religious practice, and political/military alliances.
Distant Drums reveals how the colonies were central to the defense of the British Empire and the command of the oceans that underpinned it. Now in paperback, Distant Drums blends sweeping overviews of the nature of imperial defense with grassroots explanations of how individual colonies were mobilized for war, drawing on the author's specialist knowledge of the Indian Ocean and colonies, such as Bechuanaland, Ceylon, Mauritius, and Swaziland. This permits the full and dramatic range of action involved in imperial warfare to be viewed as part of an interconnected whole, from policy-makers and military planners in Whitehall to chiefs recruiting soldiers in African villages. After examining the martial reasons for acquiring colonies, the book considers the colonial role in the First World War. It then turns to the Second World War, documenting the recruitment of colonial soldiers, their manifold roles in British military formations, and the impact of war upon colonial home fronts. It reveals the problems associated with the use of colonial troops far from home and the networks used to achieve the mobilization of a global empire, such as those formed by colonial governors and regional naval commanders. Distant Drums is an important contribution to the understanding of the role of British colonies in 20th-century warfare. The defense of empire has traditionally been associated with the military endeavors of Britain and the 'white' Dominions, with the Indian Army sometimes in the background. This book champions the crucial role played by the other parts of the British Empire - the 60 or so colonies spread across the globe - in delivering victory during both World Wars.
Indian Writings in English by Manmohan Krishna Bhatnagar Pdf
Indian Literature In English Incorporates Indian Themes And Experience In A Framework That Is A Blend Of Indian And Western Aesthetics. This Often Confronts Creative Writers With A Series Of Difficult Choices. Involved In An Intractable Tight Rope Walking, How The Literatures Respond To The Exacting Requirement Of Making Their Experience Fit An A Priori Mould Is Sought To Be Examined In The Present Volume Of This Anthology.Aiming To Capture In All Its Complex Nuances The Distinctive Identity Of Indian English Literature As Darshan And As A Formal Artistic Construct Against The Background Of The Particular Problems Confronting The Creative Writers, The Collection Includes Critiques Of The Foremost As Well As The Latest Works Of A Number Of Writers Tagore, Sri Aurobindo, Jayant Mahapatra, Mulk Raj Anand, R.K. Narayan, Bhabani Bhattacharya, Manohar Malgonkar, Kamala Markandaya, Ruth Prawer Jhabwala, Anita Desai, Arun Joshi, Namita Gokhale, Malayatoor Ramakrishanan And Makarand Paranjape.Affording Fresh Perspectives On Popular Works, Facilitating A Through Revision Of Cliched Readings, And Incisive Studies Of Recent Works, The Present Volume Steers Indian English Critical Practice To A New Direction.
Readers worldwide have long been drawn to the foreign, the exotic, and the alien, even before Freud’s famous essay on the uncanny in 1919. Given Japan’s many years of relative isolation, followed by its multicultural empire, these themes seem particularly ripe for exploration and exploitation by Japanese writers. Their literary adventures have taken them inside Japan as well as outside, and how they internalized the exotic through the adoption of modernist techniques and subject matter forms the primary subject of this book. The Alien Within is the first book-length thematic study in English of the alien in modern Japanese literature and helps shed new light on a number of important authors. Morton examines the Gothic, a form of writing with strong affinities to European Gothic and a motif in the fiction of several key modern Japanese writers, such as Arishima Takeo. Morton also discusses the translations of Tsubouchi Shoyo, Japan’s most famous early translator of Shakespeare, and how this most alien and exotic author was absorbed into the Japanese literary and theatrical tradition. The new field of translation theory and how it relates to translating Shakespeare are also discussed. Morton devotes two chapters to the celebrated female poet Yosano Akiko, whose verse on childbirth and her unborn children broke taboos relating to the expression of the female body and sensibility. He also highlights the writing of contemporary Okinawan novelist Oshiro Tatsuhiro, whose work springs from what is for Japanese an exotic subtropical landscape and makes symbolic reference to the otherness at the heart of Japanese religiosity. Another significant but equally overlooked subject is the focus of the final chapter, which analyzes the travel writing of internationally best-selling author Murakami Haruki. Murakami’s great corpus of work includes a one-volume study of the 2000 Sydney Olympics, which Morton discusses in detail. The Alien Within breaks new ground in its treatment of the exotic in modern Japanese writing and in its discussion of authors and work hitherto absent from critical discussions in English. It will be of significant interest to readers of literature and students of modern Japanese culture and women’s writing as well as those fascinated by the occult, Gothic fiction, and the exotic.