In the illustrious history of the theatrical Fishers, there are two Georges. One is a peculiar but endearing 11-year-old, raised in the seedy world of `70s boarding houses and backstages, now packed off to school for the first time; the other, a garrulous ventriloquist's dummy who belonged to George's grandfather, a favorite traveling act of the British troops in World War II. The two Georges know nothing of each other -- until events conspire to unite them in a search to uncover the family's deepest secrets. Weaving the boy's tale and the puppet's "memoirs," By George unveils the fascinating Fisher family -- its weak men, its dominant women, its disgruntled boys, and its shocking and dramatic secrets. At once bitingly funny and exquisitely tender, Stace's novel is the unforgettable journey of two young boys separated by years but driven by the same desires: to find a voice, and to be loved. "By George is one of those rare works of fiction with an essential triple helix -- it's funny, it's clever and it's perfectly woven together with story. If writing is how we imagine not being lonely, as Wesley Stace suggests, then his conjuring trick as a writer is that he brings a large crowd along with him. This is a wonderful follow-up to his debut novel, Misfortune." -- Colum McCann, author of Zoli and Dancer
A beautiful hardcover anthology of short stories about music by a remarkable array of literary greats, selected by someone who is both a musician and a writer Music may be a universal language that transcends words, but that hasn't stopped our most accomplished writers from trying to capture its essence on the page, paying homage to one art form through another. The dazzling examples collected here range from Virginia Woolf's "The String Quartet" to Langston Hughes's "The Blues I'm Playing" and Donald Barthelme's "The King of Jazz," and from Ivan Turgenev's "The Song of Triumphant Love" to Katherine Mansfield's "The Singing Lesson" and Ian McEwan's "A Duet." Here are melodious scenes from E. M. Forster's Howards End and Vikram Seth's An Equal Music, and stories by James Joyce, Gustave Flaubert, and Marcel Proust in harmony with pieces by Vladimir Nabokov, Maya Angelou, Kazuo Ishiguro, and Philip K. Dick. Together these twenty-four musical tales make up a gorgeous symphony of literary delights. Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket.
One of The Wall Street Journal's Best fiction books of 2011 England, 1923. A gentleman critic named Leslie Shepherd tells the macabre story of a gifted young composer, Charles Jessold. On the eve of his revolutionary new opera's premiere, Jessold murders his wife and her lover, and then commits suicide in a scenario that strangely echoes the plot of his opera---which Shepherd has helped to write. The opera will never be performed. Shepherd first shares his police testimony, then recalls his relationship with Jessold in his role as critic, biographer, and friend. And with each retelling of the story, significant new details cast light on the identity of the real victim in Jessold's tragedy. This ambitiously intricate novel is set against a turbulent moment in music history, when atonal sounds first reverberated through the concert halls of Europe, just as the continent readied itself for war. What if Jessold's opera was not only a betrayal of Shepherd, but of England as well? Wesley Stace has crafted a dazzling story of counter-melodies and counter-narratives that will keep you guessing to the end.
A “hilarious” novel of a rock and roll dream gone awry (The New York Times Book Review). The Wonderkids are living the dream: sold-out concerts, screaming fans, TV shows, number-one hits. Unfortunately, it’s because the lead singer, Blake Lear, made a deal—wild success in exchange for transforming the band into a children’s entertainment act. Now the seats are packed with grade schoolers instead of cool hipsters, and the television appearances happen on Saturday morning. But hey, rock and roll has always been for the kids, right? The money is good, and things go very right—until they go very wrong. The temptations of the road are many, and the Wonderkids are big kids, too. Narrated by a boy whom Blake adopts on a whim, who becomes the band’s disciple, merch guy, amateur psychologist, and—eventually—damage control guru, Wonderkid is a delirious and surprisingly touching novel of the dangers of compromise, thwarted ambition, and fathers and sons, told with tremendous humor and energy. “If Stace’s latest novel, his fourth, rings true, it’s because he is writing what he knows. For 25 years, he performed smart indie rock under the pseudonym John Wesley Harding . . . A great rock ’n’ roll novel.” —The Boston Globe “Deliciously entertaining.” —The Wall Street Journal “[Wonderkid is] sweet and funny and knowing—and this is me, holding up my lighter for more.” —Joshua Ferris, National Book Award finalist and author of Then We Came to the End
Want to know how to live the Christian life? Learn from one of the foremost authorities, John Wesley, in this single-volume library of journal selections, sermons, and other addresses, essays, and letters. Two and a half centuries ago, the great Methodist distinguished himself as one of the world’s greatest authorities on the committed Christian life. Now, his most powerful writings have been compiled under one cover, perfect for personal study, pastoral research, or Christian school use. Including sermons on conversion, growth in grace, and practical holiness; essays on theological questions; personal letters; even hymns written and translated by Wesley, this all-in-one resource has been lightly updated for ease of reading, featuring scripture from the New King James Version.
A well thought out treatment of the New Testament by one of the most influential Arminian theologians that was caused by the Reformation. This is the first book in a series that encompasses the whole Bible and gives us a look into the thinking of John Wesley and the church that arose around his powerful relationship with God.
From the most brilliant and audacious choreographer of our time, the exuberant tale of a young dancer’s rise to the pinnacle of the performing arts world, and the triumphs and perils of creating work on his own terms—and staying true to himself Before Mark Morris became “the most successful and influential choreographer alive” (The New York Times), he was a six year-old in Seattle cramming his feet into Tupperware glasses so that he could practice walking on pointe. Often the only boy in the dance studio, he was called a sissy, a term he wore like a badge of honor. He was unlike anyone else, deeply gifted and spirited. Moving to New York at nineteen, he arrived to one of the great booms of dance in America. Audiences in 1976 had the luxury of Merce Cunningham’s finest experiments with time and space, of Twyla Tharp’s virtuosity, and Lucinda Childs's genius. Morris was flat broke but found a group of likeminded artists that danced together, travelled together, slept together. No one wanted to break the spell or miss a thing, because “if you missed anything, you missed everything.” This collective, led by Morris’s fiercely original vision, became the famed Mark Morris Dance Group. Suddenly, Morris was making a fast ascent. Celebrated by The New Yorker’s critic as one of the great young talents, an androgynous beauty in the vein of Michelangelo’s David, he and his company had arrived. Collaborations with the likes of Mikhail Baryshnikov, Yo-Yo Ma, Lou Harrison, and Howard Hodgkin followed. And so did controversy: from the circus of his tenure at La Monnaie in Belgium to his work on the biggest flop in Broadway history. But through the Reagan-Bush era, the worst of the AIDS epidemic, through rehearsal squabbles and backstage intrigues, Morris emerged as one of the great visionaries of modern dance, a force of nature with a dedication to beauty and a love of the body, an artist as joyful as he is provocative. Out Loud is the bighearted and outspoken story of a man as formidable on the page as he is on the boards. With unusual candor and disarming wit, Morris’s memoir captures the life of a performer who broke the mold, a brilliant maverick who found his home in the collective and liberating world of music and dance.
Charles Wesley (1707-1788) is widely recognized as one of the greatest writers of the English hymn. The importance of Charles, however, extends well beyond his undoubted poetic abilities, for he is a figure of central importance in the context of the birth and early growth of Methodism, amovement which today has a worldwide presence. It was Charles and not John who first started the Oxford 'Holy Club' from which the ethos and structures of organised Methodism were eventually to emerge. It was Charles rather than John who first experienced the 'strange warming of the heart' thatcharacterised the experience of many eighteenth-century evangelicals; and in the early years it was Charles no less than John who sought to spread, mainly through his preaching, the evangelical message across England, Wales, and Ireland. Eye witness testimony suggests that Charles was a powerfuland effective preacher whose homiletic work and skill did much to establish and further the early Methodist cause.In this book this other side of Charles Wesley is brought clearly into focus through the publication, for the first time, of all of the known Charles Wesley sermon texts. In the four substantial introductory chapters a case is made for the inclusion of the 23 sermons here presented and there isdiscussion also of the significant text-critical problems that have been negotiated in the production of this volume. Other chapters present a summary of Charles's life and preaching career and seek to show by example how the sermons, no less than the hymns, are significant vehicles for thetransmission of Charles's message. This book hence makes a plea for a reassessment of the place of Charles Wesley in English Church history and argues that he deserves to be recognised as more than just 'The Sweet Singer of Methodism'.
This is the 2nd Edition of John Wesley's Tracts on Prayer published by furocious studios (revised Aug 2017). The contents of this book are similar to those found in The Works of the Rev John Wesley - Volume Xi used for the first edition. Used in this edition are the original booklets with substantive capitalization found in early 18th Century. The main difference in this book from the original booklets is the modern text-type rather than Caslon. Other than that this book keeps the original style especially the European English spellings. These editions are preserved here in flavour with John Wesley's Prayer Collection. They have nice little surprises like Wesley's Preface. Little touches like that keep this book from being redundant with other collections of Wesley's work. There are also Hymns added to the collection of Prayers for Children and a tiny delightful booklet called GRACES perfect to make this book complete.
Have you ever tried to read the original sermons? This volume contains the sermons Wesley preached on the Sermon on the Mount in language for today's readers. A three volume set is available #9780687025169 Or the volumes can be purchased separately: John Wesley on Christian Beliefs #9780687052967 John Wesley on Christian Practice #9780687022267 "This fresh statement of Wesley has gotten me back into John Wesley's preaching." --Bishop Judith Craig
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