In settings from Jerusalem to Manhattan, from the archaeological ruins of the Galilee to Kathmandu, The Pale of Settlement gives us characters who struggle to piece together the history and myths of their family’s past. This collection of linked short stories takes its title from the name of the western border region of the Russian empire within which Jews were required to live during the late eighteenth and nineteenth centuries. Susan, the stories’ main character, is a woman trapped in her own border region between youth and adulthood, familial roots in the Middle East and a typical American existence, the pull of Jewish tradition and the independence of a secular life. In “Helicopter Days,” Susan discovers that the Israeli cousin she grew up with has joined a mysterious cult. “Lila’s Story” braids Susan’s memories of her grandmother—a German Jew arriving in Palestine to escape the Holocaust—with the story of her own affair with a married man and an invented narrative of her grandmother’s life. In “Borderland,” while trekking in Nepal, Susan meets an Israeli soldier who carries with him the terrible burden of his experience as a border guard in the Gaza Strip. And in the haunting title story, bedtime tales are set against acts of terrorism and memories of a love beyond reach. The stories of The Pale of Settlement explore the borderland between Israelis and American Jews, emigrants and expatriates, and vanished homelands and the dangerous world in which we live today.
A New York Times Editors' Choice Sami Rohr Prize for Jewish Literature Finalist “A pleasure to read from beginning to end.” —Geraldine Brooks, Pulitzer Prize–winning author of March Esther, an American art conservator, has fled New York for London—partly to escape her failing marriage, partly to tend to her dying mother. On her first night there, she spots a young man returning home very late, wet and muddy, to the house next door. Their eyes connect and he disappears inside. This first encounter sparks Esther’s curiosity about her new neighbors: Amir, the moody college student she caught sneaking in, and, more intruiguing still, Amir’s father, Javad—a neuroscientist from Iran. Throughout the spring, a tentative friendship blossoms, but when terrorists attack London’s tube and bus lines in July, Esther finds her relationship with Javad strained by her gnawing suspicions about Amir . . . suspicions that will ultimately upend the possibilities for the future, and reveal the deep stamp of the past. Sweeping, suspenseful, and exquisitely written, Underground Fugue is a powerful testament to how human connection can survive history’s most fearsome echoes.
Travel, and the exhilarating experiences it offers us, is the shared concern of these stories, which have been chosen from among the hundreds that have appeared in the prestigious Flannery O'Connor Award for Short Fiction series. More than seventy volumes, which include approximately eight hundred stories, have won the Flannery O'Connor Award. This stunning trove of always engaging, often groundbreaking short fiction is the common source for this anthology on childhood—and for planned anthologies on such topics as family, gender and sexuality, animals, and more. Travel can whisk us away to craggy mountainsides and sunny coastlines or bustling cities and mysterious jungles. Travel can excite and rejuvenate or intimidate and overwhelm. These sixteen stories reflect upon our immense, intriguing world and our explorations of it, whether you choose to follow the beaten path or abandon it.
Ever since the term "creative nonfiction" first came into widespread use, memoirists and journalists, essayists and fiction writers have faced off over where the border between fact and fiction lies. This debate over ethics, however, has sidelined important questions of literary form. Bending Genre does not ask where the boundaries between genres should be drawn, but what happens when you push the line. Written for writers and students of creative writing, this collection brings together perspectives from today's leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, and David Shields. Each writer's innovative essay probes our notions of genre and investigates how creative nonfiction is shaped, modeling the forms of writing being discussed. Like creative nonfiction itself, Bending Genre is an exciting hybrid that breaks new ground"--Provided by publisher
Originally published in 1985. Beasts of the Modern Imagination explores a specific tradition in modern thought and art: the critique of anthropocentrism at the hands of "beasts"—writers whose works constitute animal gestures or acts of fatality. It is not a study of animal imagery, although the works that Margot Norris explores present us with apes, horses, bulls, and mice who appear in the foreground of fiction, not as the tropes of allegory or fable, but as narrators and protagonists appropriating their animality amid an anthropocentric universe. These beasts are finally the masks of the human animals who create them, and the textual strategies that bring them into being constitute another version of their struggle. The focus of this study is a small group of thinkers, writers, and artists who create as the animal—not like the animal, in imitation of the animal—but with their animality speaking. The author treats Charles Darwin as the founder of this tradition, as the naturalist whose shattering conclusions inevitably turned back on him and subordinated him, the rational man, to the very Nature he studied. Friedrich Nietzsche heeded the advice implicit in his criticism of David Strauss and used Darwinian ideas as critical tools to interrogate the status of man as a natural being. He also responded to the implications of his own animality for his writing by transforming his work into bestial acts and gestures. The third, and last, generation of these creative animals includes Franz Kafka, the Surrealist artist Max Ernst, and D. H. Lawrence. In exploring these modern philosophers of the animal and its instinctual life, the author inevitably rebiologizes them even against efforts to debiologize thinkers whose works can be studied profitably for their models of signification.
“Simply Joyce is a perfect introduction to the complex work of one of the foremost writers of the twentieth century. Margot Norris, who has devoted her professional life to opening Joyce’s canon to all levels of readers, has produced a lucid, erudite, and entertaining overview that will engage those who have heretofore been intimidated by Joyce’s reputation and will revive in others a recollection of the pleasures that have derived from his writing. Although Norris offers a compact overview, it is by no means reductive or simplistic. Rather, in deft but accessible language, she lays out the marvelous range of possible responses to Joyce’s work. Her book is a wonderful gift to all readers who love Joyce’s writing.” —Michael Patrick Gillespie, Professor of English and Director of the Center for the Humanities in an Urban Environment at Florida International University Generally considered one of the greatest modern writers, James Joyce (1882–1941) grew up in Dublin, Ireland, but spent his adult life in the European cities of Trieste, Zurich, and Paris. Yet, while he left his native country behind, he never stopped writing about it. He published his well-known short story collection, Dubliners, in 1914 and the coming-of-age novel A Portrait of the Artist as a Young Man two years later. In 1922 came Ulysses, the book that would make Joyce famous and infamous at the same time: extremely controversial in its time, Ulysses was banned in the U.K. and the U.S. and led to a landmark obscenity case in 1933. In Simply Joyce, author Margot Norris strips the mystery from Joyce's groundbreaking books by offering a clear introduction to why and how they were produced. Along the way, she offers insights into Joyce’s life and creative inspirations by exploring his stories and novels in depth. Beginning with the more accessible early works and proceeding through Ulysses and the even more challenging Finnegans Wake—Joyce’s final work that was published two years before his death—Norris provides a clear and easily understandable overview of this seminal writer. Both Ulysses and Portrait of the Artist are included on almost every list of the greatest novels of all time. Simply Joyce shows why this is so and, for those who have never had the pleasure of discovering Joyce’s works, it will serve as a riveting introduction and a jumping-off point into the extraordinary linguistic world of one of the most influential writers of the previous century.
Come and join Margot Starbuck in her journey to become unsqueezed! In twenty-seven brief, funny and reflective chapters she helps us discover why God really gave us bodies and what we can do with them to serve him and others.
Words are everywhere in the museum. Amidst all the visual exhibits, and in many non-exhibition areas, swarm a host of words, talking to a vast swath of people in ways that visuals cannot. Signage at the information desk, brochures, exhibition videos, guided tours, membership materials, apps, and store labels: in a multi-screen world, where information explodes in every corner of the field of vision, clarity comes from the presence of words among the feast of visuals, helping contemporary audiences feel at home. Research bears out the need for a range of learning tools and it’s not just visitors who benefit from verbal cues; donors, educators, community partners, and volunteers will all engage more effectively with the museum that explains its brand mission with good writing. Whether written by administrators, staffers, freelancers, or interns, words are delivered by people in your museums with the knowledge that they will be interpreted by strangers. Your story is told everywhere, and with each narration it reinforces your brand; hopefully every single word reflects your brand. Each chapter tells how to put into words the stories you need to tell including: Blogs Brochures Exhibition videos Guided tour scripts Collateral programming talks Marketing plans Proposals to community partners Public Relations releases Social Media Solicitation letters Surveys Volunteer communications Website If you ever wished for a good writer, right on staff, ready to take on project, major or routine, here’s the help you’re looking for.
Swinburne and His Gods is the first serious critical analysis to examine the poet's background in the high church in the context of his work. Louis clearly shows Swinburne's fierce and intimate hostility toward the church and reveals his particular irritation with the doctrines of Newman, Keble, and Trench. In her explanation of his poetic use of sacramental imagery, especially those images connected with the Last Supper, Louis shows how Swinburne's eucharists can be murderous or erotic, aesthetic or republican. The demonic parody that characterizes Swinburne's work is shown to have developed through experimentation with neo-romantic alternatives to Christianity: first through the evocation of a quasi-sadistic pessimism, then in the embodiment of the "sun-god of Art," and, finally, as a feeble gesture toward an unknowable deity which moves elusively both within and beyond the natural world. Rather than imposing artificial unity on the poet's career, Louis presents his work as an integrated series of serious and brilliant experiments in Romantic art.
In Cosmos, Liturgy, and the Arts in the Twelfth Century, Margot E. Fassler takes readers into the rich, complex world of Hildegard of Bingen’s Scivias (meaning “Know the ways”) to explore how medieval thinkers understood and imagined the universe. Hildegard, renowned for her contributions to theology, music, literature, and art, developed unique methods for integrating these forms of thought and expression into a complete vision of the cosmos and of the human journey. Scivias was Hildegard’s first major theological work and the only one of her writings that was both illuminated and copied by scribes from her monastery during her lifetime. It contains not just religious visions and theological commentary, but also a shortened version of Hildegard’s play Ordo virtutum (“Play of the virtues”), plus the texts of fourteen musical compositions. These elements of Scivias, Fassler contends, form a coherent whole demonstrating how Hildegard used theology and the liturgical arts to lead and to teach the nuns of her community. Hildegard’s visual and sonic images unfold slowly and deliberately, opening up varied paths of knowing. Hildegard and her nuns adapted forms of singing that they believed to be crucial to the reform of the Church in their day and central to the ongoing turning of the heavens and to the nature of time itself. Hildegard’s vision of the universe is a “Cosmic Egg,” as described in Scivias, filled with strife and striving, and at its center unfolds the epic drama of every human soul, embodied through sound and singing. Though Hildegard’s view of the cosmos is far removed from modern understanding, Fassler’s analysis reveals how this dynamic cosmological framework from the Middle Ages resonates with contemporary thinking in surprising ways, and underscores the vitality of the arts as embodied modes of theological expression and knowledge.
Chapters provide detailed information on manufacturing (spinning, weaving, dyeing, decorating); communicative significance (ethnicity, identity, tradition, rank, geographic origin); and marketing and commercialization among contemporary groups of indigenous descent"--Handbook of Latin American Studies, v. 57.
James Joyce has long been viewed as a literary modernist who helped define and uphold modernism's fundamental concepts of the artist as martyr to bourgeois sensibilities and of an idealistic faith in artistic freedom. In this revolutionary work, however, Margot Norris proposes that Joyce's art actually critiques these modernist tenets by revealing an awareness of the artist's connections to and constraints within bourgeois society. In sections organized around three mythologized and aestheticized figures in Joyce's works—artist, woman, and child—Norris' readings "unravel the web" of Joyce's early and late stories, novels, and experimental texts. She shows how Joyce's texts employ multiple mechanisms to expose their own distortions, silences, and lies and reveal connections between art and politics, and art and society. This ambitious new reading not only repositions Joyce within contemporary debates about the ideological assumptions behind modernism and postmodernism, but also urges reconsideration of the phenomenon of modernism itself. It will be of interest and importance to all literary scholars.
They're making their own magic! The love potion Cameron McAllister just drank was supposed to help her get over someone—not make her fall for her best friend! Now she's pregnant, and Paul Cureux is proposing… marriage. Cameron should be jumping for joy. After all, he's the one she's wanted all along. But this is Paul. Her commitment-wary, live-for-the-moment buddy. Except he's acting as though he really means all this family togetherness stuff. Maybe he's also under the influence. Or could it be something else? Something that has nothing to do with spells and potions…and everything to do with love?
Felicia Londre explores the world of theater as diverse as the Entertainments of the Stuart court and Arthur Miller directing Chinese actors at the Beijing People's Art Theater in "Death of a Salesman." Londre examines: Restoration comedies; the Comedie Francais; Italian "opera seria"; plays of the "Surm und Grand" movement; Russian, French, and Spanish Romantic dramas; American minstrel shows; Brecht and dialectical theater; Dighilev; Dada; Expressionism, Theater of the Absurd productions, and other forms of experimental theater of the late-20th century.>
Ecstasy is about waking up and finding that you are in love with life." Most people think of ecstasy in terms of sexual ecstasy, which Tantric sex expert Margot Anand wrote about in her bestselling The Art of Sexual Ecstasy. Now, in The Art of Everyday Ecstasy, Anand expands our definition of ecstasy and shows how we can harness its energy to help us live, work, and love more passionately, joyfully, and with true spiritual focus. Our modern, work-obsessed, stress-filled culture--what Anand calls the "anti-ecstatic conspiracy"--has dulled our spirits, thrown us off balance, and alienated us from meaningful everyday experiences. In this inspirational journey toward finding the healing nature of ecstasy, Anand explains how the two types of ecstatic experiences--the moments of epiphany called Ecstatic Awakenings, and EveryDay Ecstasy, or the Ecstasy of Flow, a connection to our power and inner wisdom--can help us move beyond pain and doubt to reach our highest potential. Based on the spiritual path of Tantra, Anand shows how to use the natural energy system of our bodies--the seven chakras--as a map to ecstasy. As she guides us through the chakras, she explains how each one plays an important role in transforming energy into erotic passion, healing, empowerment, compassion, creativity, insight, and gratitude. Blocked chakras manifest themselves in surprising ways; wholeness can be achieved only when all of the chakras are open with energy flowing freely. By transforming negative behavioral patterns into positive ones and strengthening ourselves physically, emotionally, and spiritually, we can improve our health, sex life, career, relationships, and find profound meaning in everyday moments. With personal anecdotes, exercises, meditations, and rituals, The Art of Everyday Ecstasy shows us how to bring ecstatic energy into the body, mind, heart, and spirit--"to embrace every moment in our totality, to respond bodily, feel from the heart, perceive with clarity, and be fully present to others and to life.
Over the course of the nineteenth century, the figure of Persephone rapidly evolved from what was essentially a decorative metaphor into a living goddess who embodied the most spiritual aspects of ancient Greek religion. In the first comprehensive survey of the Persephone myth in English and American literature of the nineteenth and early twentieth centuries, Margot Louis explores the transformation of the goddess to provide not only a basis for understanding how the study of ancient history informed the creation of a new spirituality but for comprehending the deep and bitter tensions surrounding gender that interacted with this process. Beginning with an overview of the most influential ancient texts on Persephone and references to Persephone in Chaucer, Shakespeare, Milton, and Romantic period writing, Louis shows that the earliest theories of matriarchy and patriarchal marriage emerged in the 1860s alongside the first English poems to explore Persephone's story. As scholars began to focus on the chthonic Mystery cults, and particularly on the Eleusinian Mysteries of Demeter and Persephone, poets and novelists explored the divisions between mother and daughter occasioned by patriarchal marriage. Issues of fertility and ritual resonate in Thomas Hardy's Tess of the d'Urbervilles and Willa Cather's My Antonia, while the first advance of a neo-pagan spirituality, as well as early feminist critiques of male mythography and of the Persephone myth, emerge in Modernist poems and fictions from 1908 to 1927. Informed by the latest research and theoretical work on myth, Margot Louis's fascinating study shows the development of Victorian mythography in a new light; offers original takes on Victorian representations of gender and values; exposes how differently male and female Modernists dealt with issues of myth, ritual, and ancient spirituality; and uncovers how deeply the study of ancient spirituality is entwined with controversies about gender.
This unusual book takes place in Arnstadt, Germany between the years 1998 and 2008. It involves Meryam, the only Jewish person visiting the town. She lived there with her grandparents during her last two years in the country just before she and her parents were fortunate enough to move to America. Various episodes and experiences happen because of an accidental friendship with a Minister, famed for his disagreements with the Third Reich. Meryam becomes involved in the lives of his congregation and young people that he introduced to her. She faces friendly people with many doubts about their sincerity. The Minister convinces her to return the following year to give lectures, to form relationships with young people, to participate in directing plays, and to gently show the evils of fascism. That one year turned into three-week visits for ten consecutive years and ends in a surprisingly positive and spiritual manner.
Some tall girls grow up to have perfect posture and are later seen gracing the pages of magazines. Some are natural athletes with toned legs that mask their overlarge feet. Then there are tall girls: the ones who are always tripping over themselves; who never look normal in any size of clothing; who literally don't fit in. Comedian Margot Leitman was one of these awkward giants, and Gawky is the painfully funny chronicle of her experiences growing up tall. Reaching five feet six inches in fourth grade—and approaching six feet in high school—Leitman realized early on that she'd always stand out from the crowd. To cope, she developed a thick skin and a sharp sense of humor, and instead of forever trying to blend in, she decided to embrace her center-of-attention status. Leitman wears funky, Ziggy Stardust-era jumpsuits (in the 90s); takes up any cause she can find (whether saving the public beaches or protesting prom); and generally makes as much use of her big presence as humanly possible. Leitman's memoir is a hilarious celebration of growing up gangly. Endearing and encouraging, is a cathartic release of everything awkward girls endure-and a tribute to a youth larger than life.
This book offers an overview of haptic sensation and its influence on consumers’ behaviour, especially in dual and mediated environments where products are accessible through an interface. After almost three decades, marketers have reached a critical understanding of the importance of consumers’ senses to the processing of brands, products and advertising information. Since the development of the internet, however, there have been questions as to how markets and consumers can reach out to products in different environments. Recent advances in technologies allow sensations to render or stimulate physical sensations similar to the handling of the same product. These emerging possibilities question the way consumers are and will be able to feel a product according to the reality it relies on. The book begins by defining and discussing haptic consumption, before introducing the challenge of appealing to consumers’ senses in the digital age and examining how marketing managers have overcome this tangible barrier to date. The authors go on to further investigate the role of interfaces in rendering tactile sensations, with a particular focus on technological innovations. Finally, the book presents the authors’ original research in the field and offers a prospective vision of consumption for the coming years.
The essential text and classic study of Neo-Paganism Since its original publication, Drawing Down the Moon continues to be the only detailed history of the burgeoning but still widely misunderstood Neo- Pagan subculture. Margot Adler attended ritual gatherings and interviewed a diverse, colorful gallery of people across the United States, people who find inspiration in ancient deities, nature, myth, even science fiction. In this edition, featuring an updated resource guide of newsletters, journals, books, groups, and festivals, Margot Adler takes a fascinating and honest look at the religious experiences, beliefs, and lifestyles of modern America's Pagan groups.
After a day out with a group of her friends, Chloe Winters, disappears. Held prisoner in luxurious surroundings, forced into a degrading and isolated life, leaves her coping with depression and desperate loneliness.
This is a guidebook to help children who: - bully or take revenge on others for the pain they have felt themselves - have become very defensive because something too painful has happened to them - have hardened their hearts because they have: been too hurt in love; met with too much harshness; witnessed parental violence; been repeatedly hit; been shamed or humiliated; or - had too many experiences of not being responded to - think they have lost their parent's love to someone else and have hardened their heart.
Tales of Horror is self explanatory. Its not gut wrenching but it hopes to intrigue the reader into the curious philosophy of horror and suspense Each story builds on horror. Its purpose is to instill horror and suspense. It is about the abusive psychological terror each character confronts. Eventuallly they resolve their fears and become better people
From a highly acclaimed author-the enchanting, bittersweet story of a motherless young woman torn between real life and the otherwordly companions only she can see. On the morning of Eva McEwen's birth, six magpies congregate in the apple tree outside the window-a bad omen, according to Scottish legend. That night Eva's mother dies, leaving her to be raised by her aunt and heartsick father in the small town of Troon, Scotland. As a child, Eva is often visited by two companions: a woman and a girl. Invisible to everyone else, they seem benevolent at first, helping her to tidy her room and collect the hens' eggs. But as she grows older, their intentions become increasingly unclear: Do they wish to protect or harm her? Is their meddling in her best interest or prompted by darker motivations? In the shadow of World War II, Eva studies nursing in Glasgow, tending to the wounded soldiers. But when she falls in love with a young plastic surgeon, the companions seem to have a very different idea as to her fate, and once again she finds herself unable to resist their pull. A magical novel about loneliness, love, and the profound connection between mother and daughter, Eva Moves the Furniture fuses the simplicity of a fairy tale with the complexity of adult passions.
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