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"Palimony Blue Larue, a mixblood growing up in a small California town, suffers from a painful shyness and wants more than anything to be liked. That's why Mary Blue, his Nez Perce mother, has dreamed the weyekin, the spirit guide, to help her bring into the world the one lasting love her son needs to overcome the diffidence that runs so deep in his blood."--Jacket.
Author : T. K. Wilson Publisher : Oxford University Press Page : 272 pages File Size : 41,6 Mb Release : 2020-09-02 Category : History ISBN : 9780192608758
A bewildering feature of so much contemporary political violence is its stunning impersonality. Every major city centre becomes a potential shooting gallery; and every metro system a potential bomb alley. Victims just happen, as the saying goes, to 'be in the wrong place at the wrong time'. We accept this contemporary reality - at least to some degree. But we rarely ask: where has it come from historically? Killing Strangers tackles this question head on. It examines how such violence became 'unchained' from inter-personal relationships. It traces the rise of such impersonal violence by examining violence in conjunction with changing social and political realities. In particular, it traces both 'push' and 'pull' - the ability of modern states to force the violence of their challengers into niche forms: and the disturbing new opportunities that technological changes offer to cause mayhem in fresh and original ways. Killing Strangers therefore aims to highlight the very strangeness of contemporary experience when it is viewed against a long-term perspective. Atrocities regularly capture media attention - and just as quickly fade from public view. That is both tragic - and utterly predictable. Deep down we expect no different. And that is why such atrocities must be repeated if our attention is to be re-engaged. Deep down we expect that, too. So Killing Strangers deliberately asks the very simplest of questions. How on earth did we get here?
The essays in this book examine the ideology of motherhood in British and American literature from the 16th to the 21st centuries. This book looks at the institution of motherhood, that is, at various cultural interpretations and manipulations of maternity. Presenting mothers whose roles are often empowering yet confining, these essays scrutinize three distinct aspects of motherhood: its social and cultural construction; the significance of maternal absence; and, finally, its representation as an agent of social change. Literary works examined include William Shakespeare's Venus and Adonis; Daniel Defoe's Roxana; John Steinbeck's The Grapes of Wrath; Faulkner's The Sound and the Fury; Charles Dickens' Dombey and Son; Harriet Jacobs' Incidents in the Life of a Slave Girl; Dorothy Leigh's The Mother's Blessing; and W.S. Penn's Killing Time with Strangers, among others.
With the intrigue of a psychological thriller, Camus's masterpiece gives us the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach. Behind the intrigue, Camus explores what he termed "the nakedness of man faced with the absurd" and describes the condition of reckless alienation and spiritual exhaustion that characterized so much of twentieth-century life. First published in 1946; now in translation by Matthew Ward.
In the depths of the illusory sea of clouds, a towering palace is faintly visible, and the palace is illusory and real under the cover of this vast mist, but the faint grandeur and unparalleled majestic momentum make people feel a sense of dislocation in time and space
Often marginalised on the sidelines of both philosophy and literature, the works of Albert Camus have, in recent years, undergone a renaissance. While most readers in either discipline claim Camus and his works to be ‘theirs’, the scholars presented in this volume tend to see him and his works in both philosophy and literature. This volume is a collection of critical essays by an international menagerie of Camus experts who, despite their interpretive differences, see Camus through both lenses. For them, he is a novelist/essayist who embodies a philosophy that was never fully developed due to his brief life. The essays here examine Camus’s first published novel, The Stranger, from a variety of critical and theoretical perspectives, each drawing on the author’s knowledge to present the first known critical examination in English. As such, this volume will shed new light on previous scholarship.
In this remarkable collection of short stories by Margaret Prescott Montague, witness the extraordinary adventures and trials of Tony Beaver, the larger-than-life folk hero of the logging industry. From humorous encounters and unexpected twists to heartfelt tales of love and loss, each story paints a vivid picture of the logging world and its colorful characters. With a mix of wit, wisdom, and a touch of magic, 'Up Eel River' immerses readers in the timeless allure of Tony Beaver's unforgettable escapades.
"You're going to have to act like his wife, whether you want to or not." After seven years, the marriage of Conley and Lara Harrison is over. Lara still cares for Conley, but he's hurt her once too often. She wants nothing more than to get her divorce and move on. But that's not going to be easy. Not once she learns there's a stalker pursuing Conley. Lara's a bodyguard and, according to everyone from her father to Conley, the perfect agent for the job. After all, no one's in a better position to protect a husband than his wife.
In a world divided into two hemispheres, with conflict diminished into an informal detente, someone forgot to tell Lt. Lyric McKinney you aren't supposed to fall in love with the enemy—especially when your step-father is the leader of the Allied Forces. But how can she resist the charming, sexy Colonel Yuri Takeda? After months of secret meetings and airport rendezvous with Yuri, Lyric's plane crashes behind enemy lines. Yuri is there to bring her to safety, but they soon discover their reunion has created a small problem in foreign relations. The two make the decision to run away together, opening a political can of worms that threatens to blow both sides into open conflict.
I went to the land of my youthful dreams. And it was all true! I knew these people. I knew how they lived and died. I walked among their ruins. I ate their food. I viewed the hills and rivers. And so...let me introduce you to some of my brothers and sisters. Separated by generations, yes, but as close to each other as any family could be. They like me, have failed at times. They cried. They prayed. They laughed. They feared. They loved. And this family has room for you, too.
Of all the stranger souls I've met none are stranger than these, & none stranger than me. The thing is all these selves ...are me That say's it all. Stranger Souls is the fragmentation of a personality, mine. I am the killer, the vampire, the drunk, the lover, the star. As are you. The farther I go in, the further I reach out. At this point most authors might give a synopsis or an overview of the stories, tell you his favorite ones, or the genesis of each. Stranger Souls is a pastiche of genre's, science fiction, sword and sorcery are represented as well as traditional fiction to create a whole. Each story is a crossroads, where the characters meet to try and understand the strategies each employs to avoid the void, as it were, to fill the hole we all feel within ourselves. The world presented may resemble a world you think you're familiar with, but it isn't. The whole being created is a replication of the known world to explore a truth of life. There are two 'cycles' within the stories. The first cycle takes place in neighborhood bar from the perspective of its different customers. There's also the Hollywood cycle, that attempts to study fame and the seeking of fame and how it affects the people involved. Stranger Souls is a journey from the darker aspects of life and ourselves, to the light, and trying to reconcile that darkness with happiness.
Malcolm Gladwell, host of the podcast Revisionist History and author of the #1 New York Times bestseller Outliers, offers a powerful examination of our interactions with strangers and why they often go wrong—now with a new afterword by the author. A Best Book of the Year: The Financial Times, Bloomberg, Chicago Tribune, and Detroit Free Press How did Fidel Castro fool the CIA for a generation? Why did Neville Chamberlain think he could trust Adolf Hitler? Why are campus sexual assaults on the rise? Do television sitcoms teach us something about the way we relate to one another that isn’t true? Talking to Strangers is a classically Gladwellian intellectual adventure, a challenging and controversial excursion through history, psychology, and scandals taken straight from the news. He revisits the deceptions of Bernie Madoff, the trial of Amanda Knox, the suicide of Sylvia Plath, the Jerry Sandusky pedophilia scandal at Penn State University, and the death of Sandra Bland—throwing our understanding of these and other stories into doubt. Something is very wrong, Gladwell argues, with the tools and strategies we use to make sense of people we don’t know. And because we don’t know how to talk to strangers, we are inviting conflict and misunderstanding in ways that have a profound effect on our lives and our world. In his first book since his #1 bestseller David and Goliath, Malcolm Gladwell has written a gripping guidebook for troubled times.
"The essays, biographical sketches, and stories in The Stranger Next Door form a project of understanding that picks up where politics fail"--P. [4] of cover.
A taut and terrifying thriller about the lengths to which we'll go to make our dreams come true Hedda Chase is a top-flight executive producer at Gladiator Films, fast-tracked in the business since she graduated from Yale. An aggressive businesswoman, she recently pulled the plug on a film project initiated by one of her predecessors. The screenwriter on the project was Hugh Waters, a wannabe with a dead-end marriage and a day job at an insurance company. This script was his ticket out-until Hedda tampered with his plans, claiming his violence was over the top, his premise not credible, and his ending implausible. Hugh decides to prove otherwise by staging his script's ending and casting Hedda Chase as the victim. He flies to Los Angeles and finds Hedda, kidnaps her, and locks her in the trunk of her vintage BMW in the parking lot at LAX. He leaves the keys in the ignition, the parking ticket on the dash, and lets "destiny" take its course. This is the set-up for a troubling, smart, deadly look at women and images of women, at media as a high-stakes game and the selling of a war as theatre. (One key character is an Iraq veteran, and one of Hedda's projects is a film about women in Iraq). Brundage's Los Angeles is a casual battleground that trades carelessly in lives and dreams. As always, her characters are complicated, surprising, and intense in this high velocity, provocative novel. Watch a Video