Jake Hunt wants the same as most men, a good woman, interesting work, a home, and children. But Jake is not every man. As an aviation adviser for a global oil company, he no longer has any business with terrorists, but they have business with him. A kidnap, an insurgent attack, and an abduction, and Jake finds himself back at war. As the unwanted drama unfolds, impacting his co-worker and new-found love Nicole Roswell, Jake gets angry. Nicole finds her ideas of right and wrong are tested to the limit, and she realises her charming and thoughtful man is an incorrigible risk taker. As the terrorists escalate their violent campaign, those involved must act to protect themselves and the ones they love. In Jed Hart's new release, Without Warning, the author draws us together with common values throughout the narrative. Culture, religion, and creed are expressed through differing viewpoints; characters who wrestle with moral challenges of our times. Using his own experiences in active war and terrorist situations, Jed Hart has unleashed a fictional story that oozes guns ‘n’ gusto action, and centres on terrorism, betrayal and brutal conflict. Reflecting on his experiences, Hart stated, "It was quite easy to write a story that revolves around a Vietnam Vet and the issues that he would have to face after seeing so much violence and chaos in war zones.
Jake Hunt kills a homicidal drug dealer. Though it was in self-defence, the maddened leader of an international cartel has sworn revenge, and Jake and girlfriend Nicole must fight for their lives. With a fortune at stake and their lives in the balance, the action races from Peru to New Guinea, Australia and on to the UK. The young couple’s love is tested to breaking point, and Jake needs an edge to survive. In this battle there can only be winners and losers. —There will be no draw— “Few are as well-qualified to write an action-adventure novel as Jed Hart. He served in the Malayan conflict as a naval officer and in the Vietnam War as a pilot before founding Hart Aviation. Not only has he lived an extraordinary life, but Hart is also a gifted storyteller.” —Surf Coast Times
2nd Edition contains Starship Gita: Song of the Borg. ContentsToe JamSatsang with JedInsane Little MonkeysThe Liberating AngelWhat Is Enlightenment?The Champions of DelusionYolanda PeriwinkleThe Spiritual AnarchistThe Second ComingGoldilocks UniverseThe Magic PartThe Cross of the MomentThe Caneless Cane
DON’T BLINK Life is a roller coaster ride when Zac’s right knee and left foot show him how to run faster than a salt lake race car. Together, with the erratic help of Julian Wimple, world’s youngest billionaire, they must SAVE AUSTRALIA from the great toilet roll heist of 2020. BE PREPARED FOR SURPRISES.
DON’T BLINK Life is a roller coaster ride when Zac’s right knee and left foot show him how to run faster than a salt lake race car. Together, with the erratic help of Julian Wimple, world’s youngest billionaire, they must SAVE AUSTRALIA from the great toilet roll heist of 2020. BE PREPARED FOR SURPRISES.
An analysis of the sustaining vitality behind contemporary American poetry from 1975 to the 2003, these 12 essays examine both exemplary innovators and the social context in which innovation is resisted, acclaimed, or taken for granted.
Should we try to “live in the present”? Such is the imperative of modernity, Jed Rubenfeld writes in this important and original work of political theory. Since Jefferson proclaimed that “the earth belongs to the living”—since Freud announced that mental health requires people to “get free of their past”—since Nietzsche declared that the happy man is the man who “leaps” into “the moment—modernity has directed its inhabitants to live in the present, as if there alone could they find happiness, authenticity, and above all freedom. But this imperative, Rubenfeld argues, rests on a profoundly inadequate, deforming picture of the relationship between freedom and time. Instead, Rubenfeld suggests, human freedom—human being itself—-necessarily extends into both past and future; self-government consists of giving our lives meaning and purpose over time. From this conception of self-government, Rubenfeld derives a new theory of constitutional law’s place in democracy. Democracy, he writes, is not a matter of governance by the present “will of the people” it is a matter of a nation’s laying down and living up to enduring political and legal commitments. Constitutionalism is not counter to democracy, as many believe, or a pre-condition of democracy; it is or should be democracy itself--over time. On this basis, Rubenfeld offers a new understanding of constitutional interpretation and of the fundamental right of privacy.
This book addresses an anomaly in the novel as genre: the generic promise to readers—that "reading a novel" is a familiar and repeatable experience—is challenged by the extravagant exceptions to this rule. Furthermore, these exceptions (such as Moby-Dick, Ulysses, or To the Lighthouse) are sui generis, hybrid concoctions that cannot be said to be typical novels. The novel, then, as literary form, succeeds by extravagantly disregarding or even disavowing the protocols of its own genre. Examining a number of famous examples from Don Quixote to Nostromo, this book offers an anatomy of exceptions that illustrate the structural role of their exceptionality for the prestige of the novel as literary form.
In this landmark work, Jed Perl captures the excitement of a generation of legendary artists–Jackson Pollack, Joseph Cornell, Robert Rauschenberg, and Ellsworth Kelly among them–who came to New York, mingled in its lofts and bars, and revolutionized American art. In a continuously arresting narrative, Perl also portrays such less well known figures as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, and the adventuresome realist Fairfield Porter, as well the writers, critics, and patrons who rounded out the artists’world. Brilliantly describing the intellectual crosscurrents of the time as well as the genius of dozens of artists, New Art City is indispensable for lovers of modern art and culture.
Constitutional law's central narrative in the 20th century has been one of radical reinterpretation--Brown v. Board of Education, Roe v. Wade, Bush v. Gore. What justifies this phenomenon? How does it work doctrinally? What structures it or limits it? Rubenfeld finds a pattern in constitutional interpretation that answers these questions.
The European Union plays a significant role in international affairs. International Law and the European Union examines the impact this has had on public international law by integrating perspectives from both EU law and international law. Its analysis focuses on fields of public international law where the EU has had an influence, including customary international law, the law of treaties, international organizations, international dispute settlement, and international responsibility. International Law and the European Union shows how the EU has had a subtle but significant impact on the development of international law and how the international legal order has developed and adjusted to accommodate the EU as a distinct legal actor. In doing so, it contributes to our understanding of how international law addresses legal subjects other than States.
The first biography of America's greatest twentieth-century sculptor, Alexander Calder: an authoritative and revelatory achievement, based on a wealth of letters and papers never before available, and written by one of our most renowned art critics. Alexander Calder is one of the most beloved and widely admired artists of the twentieth century. Anybody who has ever set foot in a museum knows him as the inventor of the mobile, America's unique contribution to modern art. But only now, forty years after the artist's death, is the full story of his life being told in this biography, which is based on unprecedented access to Calder's letters and papers as well as scores of interviews. Jed Perl shows us why Calder was--and remains--a barrier breaker, an avant-garde artist with mass appeal. This beautifully written, deeply researched book opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists--his father was a well-known sculptor, his mother a painter and a pioneering feminist--Calder went on as an adult to forge important friendships with a who's who of twentieth-century artists, including Joan Miró, Marcel Duchamp, Georges Braque, and Piet Mondrian. We move through Calder's early years studying engineering to his first artistic triumphs in Paris in the late 1920s, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James--she was a great-niece of Henry James--is a richly romantic story, related here with a wealth of detail and nuance. Calder's life takes on a transatlantic richness, from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. New light is shed on Calder's lifelong interest in dance, theater, and performance, ranging from the Cirque Calder, the theatrical event that became his calling card in bohemian Paris to collaborations with the choreographer Martha Graham and the composer Virgil Thomson. More than 350 illustrations in color and black-and-white--including little-known works and many archival photographs that have never before been seen--further enrich the story.
People with mental health conditions are among the most socially excluded groups in society. Mental health conditions are influenced by the social environment, which in turn shapes our social and cultural responses to the people who experience them. Much of what mental health practitioners do is 'essentially social' and the effects of their interventions are hampered by the marginalised status of many of the people that they see. This book documents the ways in which people with mental health conditions are excluded from participating in society and offers some pointers as to how this may be reversed. It highlights the need to reduce mental health inequalities and to consider the importance of material inequalities and social injustices faced by people experiencing mental ill-health. Whilst the challenges are considerable and the solutions wide-ranging, mental health practitioners can play a significant role in facilitating the social inclusion of those with mental health conditions.
This book examines the influence of historical and popular figures on the way Australians see themselves in the 21st century. Investigating whether colonial figures such as convicts and bushrangers still influence contemporary Australian identity, and how the influence of sports figures, politicians and scientists manifests itself.
Unseasonable Youth examines a range of modernist-era fictions that cast doubt on the ideology of progress through the figure of stunted or endless adolescence. Novels of youth by Oscar Wilde, Olive Schreiner, Rudyard Kipling, Joseph Conrad, H.G. Wells, James Joyce, Virginia Woolf, Jean Rhys, and Elizabeth Bowen disrupt the inherited conventions of the bildungsroman in order to criticize bourgeois values and to reinvent the biographical plot, but also to explore the contradictions inherent in mainstream developmental discourses of self, nation, and empire. The intertwined tropes of frozen youth and uneven development, as motifs of failed progress, play a crucial role in the emergence of dilatory modernist style and in the reimagination of colonial space at the fin-de-siècle. The genre-bending logic of uneven development - never wholly absent from the coming-of-age novel -- takes on a new and more intense form in modernism as it fixes its broken allegory to the problem of colonial development. In novels of unseasonable youth, the nineteenth-century idea of world progress comes up against stubborn signs of underdevelopment and uneven development, just at the same moment that post-Darwinian racial sciences and quasi-Freudian sexological discourses lend greater influence to the idea that certain forms of human difference cannot be mitigated by civilizing or developmental forces. In this historical context, the temporal meaning and social vocation of the bildungsroman undergo a comprehensive shift, as the history of the novel indexes the gradual displacement of historical-progressive thinking by anthropological-structural thinking in the Age of Empire.
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
Jed Rasula is a preeminent scholar of avant-garde poetics, noted for his erudition, intellectual range, and critical independence. He's also a gifted writer-his recent books have won praise for their entertaining, clear prose in addition to their scholarship. He is also an alumnus of UAP's distinguished Modern and Contemporary Poetics series, which published his Syncopations fifteen years ago. Rasula returns to the MCP series with Wreading, A collection of essays, interviews and occasional writings that reflects the breadth and diversity of his curiosity. One of the referees likened Wreading to a "victory lap, but one that sets its own further record in the taking." This is a collection of highlights from Rasula's shorter critical pieces, but also a carefully assembled and revised intellectual autobiography. Wreading consists of two parts: an assortment of Rasula's solo criticism, and selected interviews and conversations with other critics and scholars (Evelyn Reilly, Leonard Schwartz, Tony Tost, Mike Chasar, Joel Bettridge, and Ming-Qian Ma). The collection opens with a trio of essays that complicate the idea of a "poet." By interrogating the selection of poets for anthologies in the 20th century, Rasula identifies a host of "forgotten" poets, once prominent but now forgotten. Another essay on the state of the poetry anthology reveals how much influence literary gatekeepers have, and what a reimagination of the anthology form could make possible. In subsequent chapters, Rasula finds surprising overlap between Dada and Ralph Waldo Emerson, charts the deep links between image and poetic inspiration, and reckons with Ron Silliman's The Alphabet, a UAP classic. In the book's second half, Rasula engages in detailed conversations with a roster of fellow critics. Their exchanges confront ecopoetics, the corporate university, the sheer volume of contemporary poetry, and more. This substantial set of dialogues gives readers a glimpse inside a master critic's deeply informed critical practice, and lists his intellectual touchstones. The balance between essay and interview achieves a distillation of Rasula's long-established idea of "wreading." In his original use, the term denotes how any act of criticism inherently adds to the body of writing that it purports to read- how Rasula "couldn't help but participate" in his favorite poems. In this latest form, Wreading captures a critical perception that sparks insight and imagination, no matter what it sees"--
Poetry, for Jed Rasula, bears traces of our entanglement with our surroundings, and these traces define a collective voice in modern poetry independent of the more specific influences and backgrounds of the poets themselves. In This Compost Rasula surveys both the convictions asserted by American poets and the poetics they develop in their craft, all with an eye toward an emerging ecological worldview. Rasula begins by examining poets associated with Black Mountain College in the 1950s--Charles Olson, Robert Creeley, and Robert Duncan--and their successors. But This Compost extends to include earlier poets like Robinson Jeffers, Ezra Pound, Louis Zukofsky, Kenneth Rexroth, and Muriel Rukeyser, as well as Clayton Eshleman, Gary Snyder, Michael McClure, and other contemporary poets. Walt Whitman and Emily Dickinson also make appearances. Rasula draws this diverse group of poets together, uncovering how the past is a "compost" fertilizing the present. He looks at the heritage of ancient lore and the legacy of modern history and colonial violence as factors contributing to ecological imperatives in modern poetry. This Compost restores the dialogue between poetic language and the geophysical, biological realm of nature that so much postmodern discourse has sought to silence. It is a fully developed, carefully argued book that deals with an underrepresented element in modern American culture, where the natural world and those who write about it have been greatly neglected in contemporary literary history and theory.
On the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influence When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.” Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.
The concluding volume to the first biography of one of the most important, influential, and beloved twentieth-century sculptors, and one of the greatest artists in the cultural history of America--is a vividly written, illuminating account of his triumphant later years. The second and final volume of this magnificent biography begins during World War II, when Calder--known to all as Sandy--and his wife, Louisa, opened their home to a stream of artists and writers in exile from Europe. In the postwar decades, they divided their time between the United States and France, as Calder made his first monumental public sculptures and received blockbuster commissions that included Expo '67 in Montreal and the 1968 Olympics in Mexico City. Jed Perl makes clear how Calder's radical sculptural imagination shaped the minimalist and kinetic art movements that emerged in the 1960s. And we see, as well, that through everything--their ever-expanding friendships with artists and writers of all stripes; working to end the war in Vietnam; hosting riotous dance parties at their Connecticut home; seeing the "mobile," Calder's essential artistic invention, find its way into Webster's dictionary--Calder and Louisa remained the risk-taking, singularly bohemian couple they had been since first meeting at the end of the Roaring Twenties. The biography ends with Calder's death in 1976 at the age of seventy-eight--only weeks after an encyclopedic retrospective of his work opened at the Whitney Museum in New York--but leaves us with a new, clearer understanding of his legacy, both as an artist and a man.
Tolerance is usually regarded as a quintessential liberal value. This position is supported by a standard liberal history that views religious toleration as emerging from the post-Reformation wars of religion as the solution to the problem of religious violence. Requiring the separation of church from state, tolerance was secured by giving the state the sole authority to punish religious violence and to protect the individual freedoms of conscience and religion. Commitment to tolerance is independent of judgements about justice and the common good. This standard liberal history exerts a powerful hold on the modern imagination: it undergirds several important recent accounts of liberal tolerance and virtually every major study of tolerance in the ancient world. Nevertheless, this familiar narrative distorts our understanding of tolerance's premodern origins and impoverishes present-day debates when many members of Christianity and Islam, the two largest global religions, have reservations about liberal tolerance. Setting aside the standard liberal history, The Christian Origins of Tolerance recovers tolerance's beginnings in a forgotten tradition forged by North African Christian thinkers of the first five centuries CE in critical conversation with one another, St. Paul, the rival tradition of Stoicism, and the political and legal thought of the wider Roman world. This North African Christian tradition conceives of tolerance as patience within plurality. This tradition does not require the separation of religion and the secular state as a prerequisite for tolerance and embeds individual rights and the freedoms of conscience and religion within a wider theoretical framework that derives accounts of political judgement and patience from theological reflection on God's roles as a patient father and just judge. By recovering this forgotten tradition, we can better understand and assess the choices made by leading theorists of liberal tolerance, and as a result, think better about how to achieve peaceful coexistence within and beyond liberal democracies in a world in which many Christians and Muslims are sceptical of liberalism.
Collects Moon Knight (2021) #25-30. Knight's end! The past comes back to bedevil Moon Knight as he pursues his latest enemy - someone at once familiar and new. Hunting for answers, he is haunted by the last mission of the Karnak Cowboys - a mercenary crew counting among its members Marc Spector, Jean-Paul Duchamp, Robert Plesko…and Layla El-Faouly! Meanwhile, as Moon Knight is left to deal with apocalyptic events, Khonshu's other faithful Fist, Hunter's Moon, leads new converts to war. But was his most recent resurrection flawed? And does this new weakness spell doom for Dr. Badr? Both Moon Knight and Hunter's Moon are searching for the Black Spectre, with the fate of Manhattan - and a pivotal life - hanging in the balance! With all hope of another resurrection gone, everything is on the line for Moon Knight!
Defending the Fringe assesses the importance of the southern flank of NATO to the Western Alliance. It discusses Western strategy toward the Persian Gulf and includes a brief historical sketch of U.S. regional security doctrines.
A ground-breaking book on the transformative power of impact investing This is the first book to chart the catalytic path of this new industry, explaining how it is and can be a positive disruptive force. It shows how impact investing is a transformational vehicle for delivering "blended value" throughout the investment spectrum, giving a single name to a set of activities previously siloed in enclaves, revealing how they are linked within what is becoming a new field of investing. Written by two leaders in the growing field of impact investing, the book defines this emerging industry for participants on all sides of the funding equation (investors, funders and social entrepreneurs). Filled with illustrative examples of impact investing success stories Reveals how the field can expand in order to address the most critical social and environmental issues of our day Explores the wide-ranging applications of impact investing as well as entrepreneurial opportunities The authors do not take a normative approach to argue how investors should behave like an investment guide might but show how entrepreneurial people and institutions are already offering an integrated alternative.
Why do Jews win so many Nobel Prizes and Pulitzer Prizes? Why are Mormons running the business and finance sectors? Why do the children of even impoverished and poorly educated Chinese immigrants excel so remarkably at school? It may be taboo to say it, but some cultural groups starkly outperform others. The bestselling husband and wife team Amy Chua, author of Battle Hymn of the Tiger Mother, and Jed Rubenfeld, author of The Interpretation of Murder, reveal the three essential components of success – its hidden spurs, inner dynamics and its potentially damaging costs – showing how, ultimately, when properly understood and harnessed, the Triple Package can put anyone on their chosen path to success.
A guide to dealing with hormone related mood swings in men describes the triggers and warning signs of Irritable Male Syndrome, the ways it can affect those suffering from it and the best ways for men and their families to work through it. 30,000 first printing.
That certain groups do much better in America than others—as measured by income, occupational status, test scores, and so on—is difficult to talk about. In large part this is because the topic feels racially charged. The irony is that the facts actually debunk racial stereotypes. There are black and Hispanic subgroups in the United States far outperforming many white and Asian subgroups. Moreover, there’s a demonstrable arc to group success—in immigrant groups, it typically dissipates by the third generation—puncturing the notion of innate group differences and undermining the whole concept of 'model minorities.'" Mormons have recently risen to astonishing business success. Cubans in Miami climbed from poverty to prosperity in a generation. Nigerians earn doctorates at stunningly high rates. Indian and Chinese Americans have much higher incomes than other Americans; Jews may have the highest of all. Why do some groups rise? Drawing on groundbreaking original research and startling statistics, The Triple Package uncovers the secret to their success. A superiority complex, insecurity, impulse control—these are the elements of the Triple Package, the rare and potent cultural constellation that drives disproportionate group success. The Triple Package is open to anyone. America itself was once a Triple Package culture. It’s been losing that edge for a long time now. Even as headlines proclaim the death of upward mobility in America, the truth is that the old-fashioned American Dream is very much alive—but some groups have a cultural edge, which enables them to take advantage of opportunity far more than others. • Americans are taught that everyone is equal, that no group is superior to another. But remarkably, all of America’s most successful groups believe (even if they don’t say so aloud) that they’re exceptional, chosen, superior in some way. • Americans are taught that self-esteem—feeling good about yourself—is the key to a successful life. But in all of America’s most successful groups, people tend to feel insecure, inadequate, that they have to prove themselves. • America today spreads a message of immediate gratification, living for the moment. But all of America’s most successful groups cultivate heightened discipline and impulse control. But the Triple Package has a dark underside too. Each of its elements carries distinctive pathologies; when taken to an extreme, they can have truly toxic effects. Should people strive for the Triple Package? Should America? Ultimately, the authors conclude that the Triple Package is a ladder that should be climbed and then kicked away, drawing on its power but breaking free from its constraints. Provocative and profound, The Triple Package will transform the way we think about success and achievement.
RICO: Civil and Criminal Law and Strategy provides a fundamental grounding in substantive RICO law and focuses on strategic and tactical considerations of RICO practice.
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