LONGLISTED FOR THE NATIONAL BOOK AWARD • “Fortified with wit and tenderness . . . Gun Love potently illuminates a puzzled land.”—O: The Oprah Magazine NAMED ONE OF THE TEN BEST FICTION BOOKS OF THE YEAR BY TIME • SHORTLISTED FOR THE ASPEN WORDS LITERARY PRIZE The searing, unforgettable story of a young girl's resilience, by the award-winning author of Prayers for the Stolen Pearl's mother took her away from her family just weeks after she was born, and drove off to central Florida determined to begin a new life for herself and her daughter--in the parking lot next to a trailer park. Pearl grew up in the front seat of their '94 Mercury, while her mother lived in the back. Despite their hardships, mother and daughter both adjusted to life, making friends with the residents of the trailers and creating a deep connection to each other. All around them, Florida is populated with gun owners--those hunting alligators for sport, those who want to protect their families, and those who create a sense of danger. Written in a gorgeous lyric all its own, Gun Love is the story of a tough but optimistic young woman growing up in contemporary America, in the midst of its harrowing love affair with firearms.
A True Story Based on Lies is a remarkable and original novel that addresses the universal issues of class discrimination, male oppression and female servitude through dual narratives ofspellbinding power. Set in contemporary Mexico, the book charts the consequences of a sexual relationship between Leonora, a servant in the wealthy O'Connor home, and her master. When a child, Aura Olivia, is born from this union she is brought up as the daughter of the house. As the novel unfolds, the 'true' story gradually emerges.
**Longlisted for the National Book Award for Fiction 2018** 'My mother called anyone or anything that seemed alone, or ended up in the wrong place, a stray. There were stray people, stray dogs, stray bullets, and stray butterflies.' Fourteen-year-old Pearl France lives in the front seat of a broken down car and her mother Margot lives in the back. Together they survive on a diet of powdered milk and bug spray, love songs and stolen cigarettes. Life on the edge of a Florida trailer park is strange enough, but when Pastor Rex's 'Guns for God' programme brings Eli Redmond to town Pearl's world is upended. Eli pays regular visits to Margot in the back seat, forcing Pearl to find a world beyond the car. Margot is given a gift by Eli, a gun of her own, just like he's given her flowers. It sits under the driver's seat, a dark presence... Gun Love is a hypnotic story of family, community and violence. Told from the perspective of a sharp-eyed teenager, it exposes America's love affair with firearms and its painful consequences.
The haunting novel of love and survival that inspired Mexico’s official submission for International Feature Film—now shortlisted for the 94th Academy Awards® and streaming on Netflix “Prayers for the Stolen gives us words for what we haven’t had words for before, like something translated from a dream in a secret language. . . . Beguiling, and even crazily enchanting.”—Francisco Goldman, New York Times Book Review FINALIST FOR THE PEN/FAULKNER PRIZE • AN IRISH TIMES BOOK OF THE YEAR Ladydi Garcia Martínez is fierce, funny, and smart. She was born into a world where being a girl is a dangerous thing. In the mountains of Guerrero, Mexico, women must fend for themselves, as their men have left to seek opportunities elsewhere. Here in the shadow of the drug war, bodies turn up on the outskirts of the village to be taken back to the earth by scorpions and snakes. School is held sporadically, when a volunteer can be coerced away from the big city for a semester. In Guerrero the drug lords are kings, and mothers disguise their daughters as sons, or when that fails they “make them ugly”—cropping their hair, blackening their teeth, anything to protect them from the rapacious grasp of the cartels. And when the black SUVs roll through town, Ladydi and her friends burrow into holes in their backyards like animals, tucked safely out of sight. While her mother waits in vain for her husband’s return, Ladydi and her friends dream of a future that holds more promise than mere survival, finding humor, solidarity, and fun in the face of so much tragedy. When Ladydi is offered work as a nanny for a wealthy family in Acapulco, she seizes the chance, and finds her first taste of love with a young caretaker there. But when a local murder tied to the cartel implicates a friend, Ladydi’s future takes a dark turn. Despite the odds against her, this spirited heroine’s resilience and resolve bring hope to otherwise heartbreaking conditions. An illuminating and affecting portrait of women in rural Mexico, and a stunning exploration of the hidden consequences of an unjust war, Prayers for the Stolen is an unforgettable story of friendship, family, and determination.
While humility is not especially valued in modern Western culture, Jennifer Clement argues here, it is central to sixteenth- and seventeenth-century understandings of Christian faith and behavior, and is vital to early modern concepts of the self. As this study shows, early modern literary engagements with humility link it to self-knowledge through the practice of right reading, and make humility foundational to any proper understanding of human agency. Yet humility has received little critical interest, and has often been misunderstood as a false virtue that engenders only self-abjection. This study offers an overview of various ways in which humility is discussed, deployed, or resisted in early modern texts ranging from the explicitly religious and autobiographical prose of Katherine Parr and John Donne, to the more politically motivated prose of Queen Elizabeth I and the seventeenth-century reformer and radical Thomas Tryon. As part of the wider 'turn to religion' in early modern studies, this study seeks to complicate our understanding of a mainstream early modern virtue, and to problematize a mode of critical analysis that assumes agency is always defined by resistance.
The beautifully written, deeply affecting story of Jean-Michel Basquiat's partner, her past, and their life together An NPR Best Book of the Year Selection New York City in the 1980s was a mesmerizing, wild place. A hotbed for hip hop, underground culture, and unmatched creative energy, it spawned some of the most significant art of the 20th century. It was where Jean-Michel Basquiat became an avant-garde street artist and painter, swiftly achieving worldwide fame. During the years before his death at the age of 27, he shared his life with his lover and muse, Suzanne Mallouk. A runaway from an unhappy home in Canada, Suzanne first met Jean-Michel in a bar on the Lower East Side in 1980. Thus began a tumultuous and passionate relationship that deeply influenced one of the most exceptional artists of our time. In emotionally resonant prose, award-winning author Jennifer Clement tells the story of the passion that swept Suzanne and Jean-Michel into a short-lived, unforgettable affair. A poetic interpretation like no other, Widow Basquiat is an expression of the unrelenting power of addiction, obsession and love.
Abandoned by her mother as a baby, Emily now lives with her father in Mexico City. She works in the local Catholic orphanage. Life is simple. But when an enigmatic cousin, Santi, appears on the doorstep he brings family secrets, and soon Emily finds desire and temptation have overturned her straightforward life forever.
AN iNEWS BEST BOOK TO READ THIS MONTH 'Clement has lived a life like no other, and made of it a shimmering mosaic, a masterpiece, which is this book' Andrew Sean Greer, Pulitzer Prize-winning author of Less Growing up in Mexico City, Jennifer Clement lived next door to Frida Kahlo’s house. It was an unorthodox and bohemian childhood, living alongside artists, communists, revolutionaries and poets, and one that allowed an awakening of creative freedom and curiosity about the world. Leaving behind the revolutions in Latin America for the burgeoning counter-culture scene in ’80s New York, Clement quickly became a fixture on the art scene, inhabiting the world of Jean-Michel Basquiat, Keith Haring, Colette Lumiere and William Burroughs, and frequenting The Mudd Club, Danceteria and Studio 54. From the author of cult classic Widow Basquiat, this memoir is a tale of two cities and their artists. It recreates the fury, ecstasy and danger that made ’70s Mexico City and ’80s New York two of the greatest places to be young, free and alive.
Comprehensive in scope and easy to use, Atlas of Gynecologic Surgical Pathology, 4th Edition, provides the current, authoritative information you need to effectively sign out cases in female genital pathology. In this 4th Edition, internationally renowned authors Drs. Philip B. Clement and Robert H. Young are joined by new co-author Dr. Jennifer Stall to continue this bestselling atlas’s tradition of excellence. Hundreds of superb pathologic images, diagnostic pearls, and fully updated content make this practical, bench-side resource ideal for minimizing risks in reporting both routine and difficult cases. Comprehensively discusses the differential diagnosis of female genital tract neoplasms and their many mimics from the perspective of their varied microscopic features. Highlights important aspects of the clinical background, including age of patient, history of other tumors, and distribution of disease. Stresses helpful aspects of gross features and the importance of thorough sampling. Emphasizes practically important, immunohistochemical findings relevant to establishing the correct diagnosis. Includes newly described variants and new histologic entities. Considers molecular aspects of the entities discussed. Includes the latest classification and staging systems for gynecologic diseases and disorders, with up-to-date information on staging. Includes hundreds of high-quality pathologic images, including new images contributed by Dr. Jennifer Stall from her review of the late Dr. Robert E. Scully’s vast collection of cases. Features tables listing differential diagnoses of each tumor and tumor-like entity to help you identify key points to consider in problem areas.
Sur le parking d’un camp de caravanes, en plein cœur de la Floride, Pearl vit à l’avant d’une Mercury avec sa mère Margot qui dort sur le siège arrière. Elles se sont créé un quotidien à deux, fait de chansons d’amour, de porcelaine de Limoges, d’insecticide Raid et de lait en poudre. Outre ce lien fusionnel, l’adolescente peut aussi compter sur sa meilleure amie, Avril May, avec qui elle fume des cigarettes volées au bord d’une rivière pleine d’alligators, et sur les autres personnages excentriques des caravanes voisines. Mais cet équilibre fragile bascule à mesure que Pearl prend conscience du trafic d’armes qui s’organise autour d’elle, tandis que sa mère s’abîme dans sa liaison avec Eli, un mystérieux Texan au passé trouble qui prend peu à peu sa place dans la Mercury. Avec Balles perdues, Jennifer Clement signe un nouveau roman au lyrisme engagé. À travers le regard d’une jeune fille à peine sortie de l’enfance, elle dénonce avec humour et poésie le sort imposé aux plus démunis et les ravages causés par le marché de l’armement aux États-Unis.
This study offers a fresh approach to reception historical studies of New Testament texts, guided by a methodology introduced by ancient historians who study Graeco-Roman educational texts. In the course of six chapters, the author identifies and examines the most representative Pauline texts within writings of the ante-Nicene period: 1Cor 2, Eph 6, 1Cor 15, and Col 1. The identification of these most widely cited Pauline texts, based on a comprehensive database which serves as an appendix to this work, allows the study to engage both in exegetical and historical approaches to each pericope while at the same time drawing conclusions about the theological tendencies and dominant themes reflected in each. Engaging a wide range of primary texts, it demonstrates that just as there is no singular way that each Pauline text was adapted and used by early Christian writers, so there is no homogeneous view of early Christian interpretation and the way Scripture informed their writings, theology, and ultimately identity as Christian.
Philo of Alexandria and the Construction of Jewishness in Early Christian Writings investigates portrayals of the first-century philosopher and exegete Philo of Alexandria, in the writings of Clement of Alexandria, Origen, and Eusebius. It argues that early Christian invocations of Philo are best understood not as attempts simply to claim an illustrious Jew for the Christian fold, but as examples of ongoing efforts to define the continuities and distinctive features of Christian beliefs and practices in relation to those of the Jews. This study takes as its starting point the curious fact that none of the first three Christians to mention Philo refer to him unambiguously as a Jew. Clement, the first in the Christian tradition to openly cite Philo's works, refers to him twice as a Pythagorean. Origen, who mentions Philo by name only three times, makes far more frequent reference to him in the guise of an anonymous "one who came before us." Eusebius, who invokes Philo on many more occasions than does Clement or Origen, most often refers to Philo as a Hebrew. These epithets construct Philo as an alternative "near-other" to both Christians and Jews, through whom ideas and practices may be imported to the former from the latter, all the while establishing boundaries between the "Christian" and "Jewish" ways of life. The portraits of Philo offered by each author reveal ongoing processes of difference-making and difference-effacing that constituted not only the construction of the Jewish "other," but also the Christian "self.
Throughout the pharaonic period, hieroglyphs served both practical and aesthetic purposes. Carved on stelae, statues, and temple walls, hieroglyphic inscriptions were one of the most prominent and distinctive features of ancient Egyptian visual culture. For both the literate minority of Egyptians and the vast illiterate majority of the population, hieroglyphs possessed a potent symbolic value that went beyond their capacity to render language visible. For nearly three thousand years, the hieroglyphic script remained closely bound to indigenous notions of religious and cultural identity. By the late antique period, literacy in hieroglyphs had been almost entirely lost. However, the monumental temples and tombs that marked the Egyptian landscape, together with the hieroglyphic inscriptions that adorned them, still stood as inescapable reminders that Christianity was a relatively new arrival to the ancient land of the pharaohs. In Egyptian Hieroglyphs in the Late Antique Imagination, Jennifer Westerfeld argues that depictions of hieroglyphic inscriptions in late antique Christian texts reflect the authors' attitudes toward Egypt's pharaonic past. Whether hieroglyphs were condemned as idolatrous images or valued as a source of mystical knowledge, control over the representation and interpretation of hieroglyphic texts constituted an important source of Christian authority. Westerfeld examines the ways in which hieroglyphs are deployed in the works of Eusebius and Augustine, to debate biblical chronology; in Greek, Roman, and patristic sources, to claim that hieroglyphs encoded the mysteries of the Egyptian priesthood; and in a polemical sermon by the fifth-century monastic leader Shenoute of Atripe, to argue that hieroglyphs should be destroyed lest they promote a return to idolatry. She argues that, in the absence of any genuine understanding of hieroglyphic writing, late antique Christian authors were able to take this powerful symbol of Egyptian identity and manipulate it to serve their particular theological and ideological ends.
In 1754, Voltaire, one of the most famous and provocative writers of the period, moved to the city of Geneva. Little time passed before he instigated conflict with the clergy and city as he publicly maligned the memory of John Calvin, promoted the culture of the French theater, and incited political unrest within Genevan society. Conflict with the clergy reached a fever pitch in 1757 when Jean d’Alembert published the article ’Genève’ for the Encyclopédie. Much to the consternation of the clergy, his article both castigated Calvin and depicted his clerical legacy as Socinian. Since then, little has been resolved over the theological position of Calvin’s clerical legacy while much has been made of their declining significance in Genevan life during the Enlightenment era. Based upon a decade of research on the sources at Geneva’s Archives d'État and Bibliothèque de Genève, this book provides the first comprehensive monograph devoted to Geneva’s Enlightenment clergy. Examination of the social, political, theological, and cultural encounter of the Reformation with the Enlightenment in the figurative meeting of Calvin and Voltaire brings to light the life, work, and thought of Geneva’s eighteenth-century clergy. In addition to examination of the convergence with the philosophes, prosopographical research uncovers clerical demographics at work. Furthermore, the nature of clerical involvement in Genevan society and periods of political unrest are considered along with the discovery of a ’Reasonable Calvinism’ at work in the public preaching and liturgy of Genevan worship. This research moves Geneva’s narrative beyond a simplistic paradigm of ’decline’ and secularization, offers further evidence for a revisionist understanding of the Enlightenment’s engagement with religion, and locates Geneva’s clergy squarely in the newly emerging category of the ’Religious Enlightenment.’ Finally, the significance of French policy from the Revocat
A classic work that exposed the centrality of enslaved people and slaveholders in early Christian circles. In this expanded edition, the distinguished scholar Jennifer A. Glancy reflects upon recent discoveries and future trajectories related to the study of ancient slavery's impact on Christianity's development. What if the stories traditionally told about slavery, as something peripheral or contradictory to Christianity's emergence, are wrong? This book contends that some of the most cherished Christian texts from Jesus and the apostle Paul prioritized the perspectives of slaveholders. Jennifer A. Glancy highlights how the strong metaphorical uses of slavery in early Christian discourse can't be disconnected from the reality of enslaved people and their bodies. Deftly maneuvering among biblical texts, material evidence, and the literary and philosophical currents of the Greco-Roman world, she situates early Christian slavery in its broader cultural setting. Glancy's penetrating study into slavery's impact on early Christianity, from the pages of the New Testament to the branded collars used by Christians who held people in bondage, will be of interest to those asking questions about slavery, power, and freedom in the long arc of history.
When Captain Gabriel Lacey finds himself standing over a dead body in Brighton Pavilion, bloody sword in hand and no memory of how he got there, he immediately fears he is a murderer. The dead man is Colonel Hamilton Isherwood, a man Lacey clashed with after the battle of Salamanca in Spain seven years before. As Lacey tries to piece together the events of the previous night, he discovers he’d promised to help a Quaker gentleman find his missing son, and that the Society of Friends might know far more about his strange night out than anyone else. With the help of Brewster, Grenville, and his wife, Lacey races to save himself from arrest, even it means bringing to light painful scandals from his own past. Captain Lacey Regency Mysteries, Book 14. This is a full-length novel.
The story of the woman taken in adultery features a dramatic confrontation between Jesus and the Pharisees over whether the adulteress should be stoned as the law commands. In response, Jesus famously states, “Let him who is without sin be the first to throw a stone at her.” To Cast the First Stone traces the history of this provocative story from its first appearance to its enduring presence today. Likely added to the Gospel of John in the third century, the passage is often held up by modern critics as an example of textual corruption by early Christian scribes and editors, yet a judgment of corruption obscures the warm embrace the story actually received. Jennifer Knust and Tommy Wasserman trace the story’s incorporation into Gospel books, liturgical practices, storytelling, and art, overturning the mistaken perception that it was either peripheral or suppressed, even in the Greek East. The authors also explore the story’s many different meanings. Taken as an illustration of the expansiveness of Christ’s mercy, the purported superiority of Christians over Jews, the necessity of penance, and more, this vivid episode has invited any number of creative receptions. This history reveals as much about the changing priorities of audiences, scribes, editors, and scholars as it does about an “original” text of John. To Cast the First Stone calls attention to significant shifts in Christian book cultures and the enduring impact of oral tradition on the preservation—and destabilization—of scripture.
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