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In 1922, the Irish-American explorer, Robert Flaherty, made a film about the Canadian Arctic. 'Nanook of the North' starred a mythical Eskimo hunter. Two years after the release of the film, the man who played Nanook starved to death. This is a true story of deception & survival set amidst the Inuit communities of the Canadian Arctic.
The novel How Long Is Exile? because of its length had to be divided into two books: I—The Festival of Song and Dance and II—Going Home. The novel is about the Latvian people who suffered in and around World War II, as the two major world powers—Communist Russia and Nazi Germany—converged in fierce battles on the Amber land at the Baltic Sea until it was conquered by one, then the other, and again by the first, and its two million people were as if sliced up in many parts and scattered throughout the world. Divided with each part longing for the other, the nation survived the hot and cold wars, keeping the hope of freedom and the return home alive. That hope was nurtured in ethnic communities and especially enforced at supplemental schools and festivals. As a portion of refugees spun off and assimilated in their various host countries, a large remnant remained and kept the flame of freedom alive. This was no easy and cheap task. It called for dedication, sacrifice, money, and courage. It was watched and monitored from within and without for half a century until, in 1990, the Soviet Union collapsed, the Iron Curtain and the Berlin Wall fell, and the euphoria touched every East European country. As a participant in that so-called exile state, I began writing my version of the experience after the Milwaukee festival, filtering it through the consciousness of my main character Milda Brzia-Arjs, who, coming out of mourning for her husband, Krlis Arjs, arrives at the festival, ready to turn a new leaf in her life. During the four days with like-minded people, interesting events, and common recollections of her childhood, the war and postwar experiences in a displaced persons’ camp flash before her in a swirling kaleidoscope and, at the end, throws her in the direction she did not plan to go. Book I ends there. It is a meditative, reflective life-based fiction that probes deeply into Milda’s psyche and also of other characters who travel the journey with her. Through Milda’s thoughts and actions, we see that the lasting impact of war and how it branches out and goes on onto the third and fourth generations.
At the end of Book I How Long is Exile? The Song and Dance Festival of Free Latvians widowed Milda Arajs had taken a new direction in her life. She had decided to break solidarity with her mainstream ethnic community and make good her promise to her daughter Ilga that they would make a "pilgrimage" to Soviet Latvia at Christmas time (1983) and welcome the baby Krijanis, born to American Mara and Latvian Igors, as the symbol of a new era. Also, Milda had chosen to give herself to Peteris Vanags, the one-armed veteran she encountered in the Esslingen DP camp after the war. (Story in Book IIOut of the Ruins of Germany.) They married shortly before the momentous trip, and soon thereafter Milda joined him in Washington, D.C. For a decade they lived happily, making up for lost years of forbidden longing and desireuntil the Soviet Union fell, and the Kingdom of Exile felt the shocks and afershocks. Unbeknown to herself, Milda's Christmas trip behind the Iron Curtain, with all its revalations, was her first step on her Long Road Home. Also, that trip at the height of American women's liberation movement, marked her adult coming of age and becoming the ruler of her life. Released from domestic bonds, she struck out on her own and challenged her mind to higher things. When Peter, in the late 1980s, was asked to join Radio Free Europe in Munich, Milda saw her Road clearly winding its way back to Latvia. This, naturally threatened the marriage. Slowly, almost imperceptibly, the Road become bumpy, even trecherous. Afraid and out of step, Peter seemed to lag behind, while Milda hurried forward now that the iron curtain was swept away. With firm steps she returned to her homeland; she reunited with her sister Zelda and reclaimed their parents' apartment. Peter complied and came up with the money, but, as if lost, he often went off by himself, afraid of being watched and pursued until he could not walk anymore. After his death and after the guarded secrets were revealed, Milda took her last steps on The Long Road Home alone. Exile was over, but the sense of exile was imbedded in Milda's mind forever, and it was heavy. She felt the weight most poignantly as she watched fireworks grace the skies at elaborate festivals, where strangers celebrated, frolicking and singing to her unknown songs, and young people rush about in search for passages to new lands, where the grass seemed greener and fame and fortune beckened from clouds with silver linings. As a participant in that, so called exile state, I began writing my version of the experience after the Milwaukee festival, filtering it through the consciousness of my main character Milda Berziņa-Arajs, who, coming out of mourning for her husband Karlis Arajs, arrives at the festival, ready to turn a new leaf in her life. During the four days with like-minded people, interesting events, and common recollections of her childhood, the war and post-war experiences in a displaced persons' camp flash before her in a swirling kaleidescope and, at the end, throws her in the direction she did not plan to go. Book II captures the mood after the fall of the USSR. The ethnic communitiesthe Kingdom of Exileis shaken, and the people awake as if from a deep sleep. Milda suddenly becomes active; she makes crucial decisions and switches from an outdated romantic into a realist as she returns home, meets her estranged sister and the country she had left behind. As she tries to find her place in it, she understands that exile is a state of mind; it is a state where half the world's population liveslike sheuprooted by tyranny and wars. Yet she and other displaced persons go on living and finding pleasure in art, poetry, song, and in each otherthough with a sad, melancholy smile.
Book II—Out of the Ruins of Germany—is the protagonist’s Milda’s Brzi-Arjs flashback of her early teens during and immediately after World War II in war-torn Germany (1944-45). Part One: Milda’s Aunt Alma, as her guardian, is the main character, with whom she at age 13, escaped out of the war-zone in Latvia. During the winter of 1945, both flee westward until they arrive in a small town in Thuringen. There, for food and shelter, Alma serves as a domestic, while Milda goes to school. In May, after the war ends, American troups set up camp in the town, and life changes for private citizens and for all Germany. Soon new borders are set and allied war zones established. Alma and Milda, finding themselves too close to the Russian zone, flee again. Refugees of many nations are settled in displaced persons’ (DP) camps. Part Two: Alma and Milda find their temporary home in an all-Latvian DP in Esslingen, which quickly turns into a mini replica of Latvia’s capital Riga. The cultural mainstays are put in place, and the displaced leaders assume their former posts. Alma resumes her acting career with a side job, while Milda enrolles in the gymnasium and assumes other activities. On Christmas eve, by chance, she meets the escaped POW Pteris Vanags—the same who captures her sympathy and her heart, as he did years later at the Milwaukee song and dance festival. Driving home from Milwaukee, Milda knows that her life’s journey has taken a new turn, with Vanags holding the reins, but where it will lead and what she will discover is to her as dim as the distant lights of her home town of Grand Rapids. Book III, The Long Road Home concludes the trilogy of How Long is Exile?
Keeper of the Lost Cities by Shannon Messenger Pdf
At age 12, Sophie learns that the remarkable abilities that have always caused her to stand out identify her as an elf. After being brought to Eternalia to hone her skills, she discovers that she has secrets buried in her memory for which some would kill.
Author : Katherine R. Jolluck Publisher : University of Pittsburgh Pre Page : 394 pages File Size : 44,6 Mb Release : 2002 Category : History ISBN : 9780822970675
Katherine Jolluck tells the story of thousands of Polish women exiled to the Soviet Union in 1939-41, and examines the ways in which their efforts to maintain their identities as respectable women and patriotic Poles helped them survive.
Exile in Amsterdam is based on a rich, extensive, and previously untapped source for one of the most important and fascinating Jewish communities in early modern Europe: the sermons of Saul Levi Morteira (ca. 1596-1660). Morteira, the leading rabbi of Amsterdam and a master of Jewish homiletical art, was known to have published only one book of fifty sermons in 1645, until a collection of 550 manuscript sermons in his own handwriting turned up in the Rabbinical Seminary of Budapest. After years of painstaking study from microfilms and three trips to Budapest to consult the actual manuscripts, Marc Saperstein has written the first comprehensive analysis of the historical significance of these texts, some of which were heard by the young Spinoza. Saperstein reviews the broad outlines of Morteira's biography, his treatment by scholars, and his image in literary works. He then reconstructs the process by which the preacher produced and delivered his sermons. Morteira's sermons also provide a trove of information about individuals and institutions in Morteira's Amsterdam, enabling Saperstein to analyze the shortcomings of behavior and the lapses in faith criticized by the preacher. The sermons also presented an ongoing program of adult education that transmitted the Jewish tradition on a high yet accessible level to a congregation of new Jews-immigrants who had lived as Christians in Portugal and were now assuming a Jewish identity with minimal prior knowledge. Here Saperstein focuses on themes Morteira considered crucial: memories of the historical past, confrontations with Christianity, ideas of exile and messianic redemption, and attitudes toward the New Christians who remained in Portugal. These historical reflections on Amsterdam's community of new Jews are illustrated by eight of Morteira's sermons, which Saperstein presents in English and with full annotation for the first time. Exile in Amsterdam offers those interested in European Jewish history and homiletics access to primary source documents and the scholarship of one of the premier historians of Jewish preaching.
Kevin Emerson's Exile, book one of the Exile series, combines the swoon-worthy romance of a Susane Colasanti novel with the rock 'n' roll of Eleanor & Park. Summer Carlson knows how to manage bands like a professional—minus the whole falling-for-the-lead-singer-of-the-latest-band part. But Caleb Daniels isn't an ordinary band boy—he's a hot, dreamy, sweet-singing, exiled-from-his-old-band, possibly-with-a-deep-dark-side band boy. She also finds herself at the center of a mystery she never saw coming. When Caleb reveals a secret about his long-lost father, one band's past becomes another's present, and Summer finds it harder and harder to be both band manager and girlfriend. Maybe it's time to accept who she really is, even if it means becoming an exile herself. . . .
In these several pieces I have worked to trace out possible interfaces between specific scripture references and matters at the forefront of our common social life. It is my hunch that, almost without fail, such an interface creates a very different angle of vision for any element of our common social life, because it situates such a topic in the context of the biblical narrative that is occupied by the holy agency of God. Such an alternative angle of vision helps to defamiliarize us from our usual discernment according to the master narrative of democratic capitalism that is most widely shared across the spectrum of conservatives and progressives. Because our common angle of vision shared by progressives and conservatives has a very low ceiling of human ultimacy, we (all of us!) easily come to think that our particular reading of social reality is absolute and beyond question, even if dominated by a tacit ideology. It is my bet that an interface with biblical testimony can and will deabsolutize our excessive certitude and permit us to look again at the social “facts” that are in front of us. I do not think and do not suggest that such interfaces with scripture are inevitable; they are rather suggestive, impressionistic, and fleeting, the kind of linkage that is available in the matrix of faith that is not fixed on certitude.
