Time and Space is Weird OTHER PLACES Just Because We Don't Know It Exists Doesn't Mean It Doesn't Exist Two novellas by A. Paul Dileski I The Passion Plays of Terrathane "I guess I saw something," Paul said. A second of silence. "What did you see?" Sabi asked. Paul ordered another red wine, and then looked deep into it. "A world. A girl." Again, a second of silence. "I guess I crossed a line," Paul said. II A Bridge From the Shadow This story turns on the consequence of two universal elements: evolution and those things in the universe that exist, but are beyond our ken. It is at this juncture that Paul and Zan have fallen deeply in love, but she is married to someone else.
Smokescreen is a riveting true-life tale of a brilliant undercover agent who infiltrated the world of organized crime. Tall, handsome, larger-than-life Cal Broeker was a successful businessman with a wife and two kids, respected in his upstate New York community. When he discovered that his business partners in Montreal were linked to organized crime, Broeker's life - and reputation - went into a tailspin. To regain his good name, Broeker became an undercover agent for the Royal Canadian Mounted Police. Neither a cop nor an informer, Broeker was able through a combination of personal charisma and situational savvy to go further undercover than any law enforcement agent. He penetrated into the heart of biker gangs, drug cartels, Mohawk smuggling operations, and the Russian mafia.
Paul Stronski tells the fascinating story of Tashkent, an ethnically diverse, primarily Muslim city that became the prototype for the Soviet-era reimagining of urban centers in Central Asia. Based on extensive research in Russian and Uzbek archives, Stronski shows us how Soviet officials, planners, and architects strived to integrate local ethnic traditions and socialist ideology into a newly constructed urban space and propaganda showcase. The Soviets planned to transform Tashkent from a "feudal city" of the tsarist era into a "flourishing garden," replete with fountains, a lakeside resort, modern roadways, schools, hospitals, apartment buildings, and of course, factories. The city was intended to be a shining example to the world of the successful assimilation of a distinctly non-Russian city and its citizens through the catalyst of socialism. As Stronski reveals, the physical building of this Soviet city was not an end in itself, but rather a means to change the people and their society. Stronski analyzes how the local population of Tashkent reacted to, resisted, and eventually acquiesced to the city's socialist transformation. He records their experiences of the Great Terror, World War II, Stalin's death, and the developments of the Krushchev and Brezhnev eras up until the earthquake of 1966, which leveled large parts of the city. Stronski finds that the Soviets established a legitimacy that transformed Tashkent and its people into one of the more stalwart supporters of the regime through years of political and cultural changes and finally during the upheavals of glasnost.
Modernism is still widely acknowledged as perhaps the most important and influential artistic and cultural phenomenon of the 20th century. Written by expert scholars from around the world and covering hundreds of different topics in a clear, incisive, and critical manner, this reference maps the complex field of modernism in a fresh and original way. The principal focus of the book is on English-language literary modernism and the period 1890-1939, yet many entries extend beyond those parameters to include important precursors and successors of the movement. The book also covers the crucial European and interdisciplinary dimensions of modernism and provides complementary comparative perspectives from countries and regions not usually included in traditional accounts of the subject. Entries cite works for further reading, and the volume closes with a selected, general bibliography.
Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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