Hopscotch is the dazzling, freewheeling account of Oliveira's astonishing adventures.The book is highly influenced by Henry Miller’s reckless and relentless search for truth in post-decadent Paris and Daisetz Teitaro Suzuki’s modal teachings on Zen Buddhism.Cortázar's employment of interior monologue, punning, slang, and his use of different languages is reminiscent of Modernist writers like Joyce, although his main influences were Surrealism and the French New Novel, as well as the "riffing" aesthetic of jazz and New Wave Cinema.In 1966, Gregory Rabassa won the first National Book Award to recognize the work of a translator, for his English-language edition of Hopscotch. Julio Cortázar was so pleased with Rabassa's translation of Hopscotch that he recommended the translator to Gabriel García Márquez when García Márquez was looking for someone to translate his novel One Hundred Years of Solitude into English. "Rabassa's One Hundred Years of Solitude improved the original," according to García Márquez.

    Displaced from her community and her home, Ettie tries to find her place in this new life, but can't seem to get it right. She irritates the maid, hangs food outside the window because she mistrusts the fridge and, in her naivety and loneliness, invites a prostitute in for tea. Iza’s Ballad is the story of a woman who loses her life’s companion and a mother trying to get close to a daughter whom she has never truly known. It is about the meeting of the old-fashioned and the modern worlds and the beliefs we construct over a lifetime.

    In addition to including many more pieces, Tomlinson has organized the whole in chronological order.It isn't what he [the poet] says that counts as a work of art," Williams maintained, "it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity.

    Pagnol brings to his treatment of this powerful, moving story his dramatist's sense of place, ambience, and character and his keen understanding of the Provencal countryside and its people. Rich with twists and ramifications, Jean de Florette and Manon of the Springs sets an idealistic city man against two secretive and deceitful Provencal country men in a superbly realized story of a struggle for life, of crime and punishment, of betrayal and revenge, and of judgment and forgiveness. In this edition, illustrated with images from the acclaimed film adaptation by Claude Berri, North Point presents Pagnol's enduring story in W.E. van Heyningen's exact and sensitive translation.Biblical in its cadences, epic in its sweep to destiny, and old fashioned in development of character and plot, this saga charts the destruction of a Provencal family.

    It is at this time that he began his engagement with the work of Dostoevsky. Problems of Dostoyevsky’s Art is considered to be Bakhtin’s seminal work, and it is here that Bakhtin introduces three important concepts.First, is the concept of the unfinalizable self: individual people cannot be finalized, completely understood, known, or labeled. Though it is possible to understand people and to treat them as if they are completely known, Bakhtin’s conception of unfinalizability respects the possibility that a person can change, and that a person is never fully revealed or fully known in the world. Readers may find that this conception reflects the idea of the soul; Bakhtin had strong roots in Christianity and in the Neo-Kantian school led by Hermann Cohen, both of which emphasized the importance of an individual's potentially infinite capability, worth, and the hidden soul.Second, is the idea of the relationship between the self and others, or other groups. According to Bakhtin, every person is influenced by others in an inescapably intertwined way, and consequently no voice can be said to be isolated. In an interview, Bakhtin once explained that, In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others. ~New York Review of Books, June 10, 1993.As such, Bakhtin's philosophy greatly respected the influences of others on the self, not merely in terms of how a person comes to be, but also in how a person thinks and how a person sees him- or herself truthfully.Third, Bakhtin found in Dostoevsky's work a true representation of polyphony, that is, many voices. Each character in Dostoevsky's work represents a voice that speaks for an individual self, distinct from others. This idea of polyphony is related to the concepts of unfinalizability and self-and-others, since it is the unfinalizability of individuals that creates true polyphony.Bakhtin briefly outlined the polyphonic concept of truth. He criticized the assumption that, if two people disagree, at least one of them must be in error. He challenged philosophers for whom plurality of minds is accidental and superfluous. For Bakhtin, truth is not a statement, a sentence or a phrase. Instead, truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices. It cannot be held within a single mind, it also cannot be expressed by "a single mouth." The polyphonic truth requires many simultaneous voices. Bakhtin does not mean to say that many voices carry partial truths that complement each other. A number of different voices do not make the truth if simply "averaged" or "synthesized." It is the fact of mutual addressivity, of engagement, and of commitment to the context of a real-life event, that distinguishes truth from untruth.When, in subsequent years, Problems of Dostoyevsky’s Art was translated into English and published in the West, Bakhtin added a chapter on the concept of carnival and the book was published with the slightly different title, Problems of Dostoyevsky’s Poetics. According to Bakhtin, carnival is the context in which distinct individual voices are heard, flourish and interact together. The carnival creates the "threshold" situations where regular conventions are broken or reversed and genuine dialogue becomes possible. The notion of a carnival was Bakhtin's way of describing Dostoevsky's polyphonic style: each individual character is strongly defined, and at the same time the reader witnesses the critical influence of each character upon the other. That is to say, the voices of others are heard by each individual, and each inescapably shapes the character of the other.http://en.wikipedia.org/wiki/Mikhail_...

    The German Occupation, the Civil War and life itself seen through the eyes of two Athenian women.

    During the seemingly endless journey, he has conversations that range from his childhood to speculations about the death camps. When at last the fantastic, Wagnerian gates to Buchenwald come into sight, the young Spaniard is left alone to face the camp.

    These poems, as well as uncollected poems published only in periodicals up to that time, make up 73 Poems. This is the final volume in Liveright's reissue of Cummings's individual volumes of poetry, with texts and settings based on E. E. Cummings: The Complete Poems 1904-1962.

    She was wearing a white frock and a large straw hat with a sapphire-blue ribbon which exactly matched her eyes—a strange coincidence, as it turned out, for the blue sapphire was to have a far-reaching influence upon her life. So far, her life had been somewhat dull and circumscribed; but quite suddenly her horizons were enlarged; she began to make new friends—and enemies—and she began to discover new strength and purpose in her own nature. The development of her character led her into strange adventures, some amusing, others full of sorrow and distress... D. E. Stevenson was born in Edinburgh, the daughter, granddaughter and great-granddaughter of civil engineers who designed many Scottish lighthouses. Her father was a first cousin of Robert Louis Stevenson. She was educated privately and travelled widely in France and Italy with her parents. She married a major in the Highland Light Infantry and moved with the regiment from place to place gaining valuable experience of life and people. Her first really successful novel, Mrs Tim, was published in 1933.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    This is the story of an Italian general, accompanied by his chaplain, charged with the mission of scouring Albania in search of the bones of their fallen countrymen, killed twenty years earlier during World War II.

    He is privileged, would seem to have the world at his feet, even. Then why does the sight of a few redneck teenagers disconcert him? Why is he reluctant to pick up a disheveled girl hitchhiking along the desert highway? And why is he the first person the police suspect when she is found dead in Arizona a few days later?Dorothy B. Hughes ranks with Raymond Chandler and Patricia Highsmith as a master of mid-century noir. In books like In a Lonely Place and Ride the Pink Horse, she exposed a seething discontent underneath the veneer of twentieth-century prosperity. With The Expendable Man, first published in 1963, Hughes upends the conventions of the wrong-man narrative to deliver a story that engages readers even as it implicates them in the greatest of all American crimes.

    After a pelican mother is shot, Storm Boy rescues the three chicks, and nurses them back to health. He names them Mr Proud, Mr Ponder and Mr Percival. After he releases them, his favourite, Mr Percival, returns. The story then concentrates on the conflict between his lifestyle and the externally imposed requirement for him to attend a school, and the fate of the pelican.

    Catholics, on the other hand, venerate Tradition, yet often without adequately understanding it. In this masterful book, the great theologian Yves Congar explains why Tradition is an inescapable aspect of a fully biblical Christian faith. He explores the various forms of Tradition and discusses the relationship between Scripture and Tradition, as well as the role of the Magisterium of the Church. The Meaning of Tradition clears up misconceptions held by many Evangelical Christians and even some Catholics on this important subject. Congar's study of Tradition greatly contributed to the teaching of Vatican II and to a deeper appreciation of the Church Fathers.

    He is obsessed with a beautiful stranger, the art student Miranda. When he wins the pools he buys a remote Sussex house and calmly abducts Miranda, believing she will grow to love him in time.

    Everything is Complicated, the second collection of Sempé’s cartoons, features some of his favourite subjects, such as hapless tourists, pipe-smoking novelists and unruly schoolchildren, as well as people who choose to express their innermost feelings through the medium of the protest sign. These inimitable drawings and watercolours, accompanied by perfectly judged deadpan captions, are fresh, engaging and funny, and will be appreciated by cartoon connoisseurs and Francophiles as well as the general public.

    First Paragraph:'P S,' they said. And 'Vanessa'. Or sometimes 'Ness'. PS. PS. PS. PS. Ness. Ness. Ness. It sounded through his half sleep like surreptitious mice foraging through tissue paper. It was as mysterious as the lateness of the hour — after nine o'clock — and only as far away as the kitchen door, ajar so as to hear him if he should call to them or have a nightmare. He turned in bed, listening to the whispering undertones, as steady and continuous as a tap left running and broken only by a cough or sometimes a chair scraping back on the linoleum; then a dish being taken from a cupboard and now and then a voice would catch on fire and break adrift from the murmurings, but always with the same word, Vanessa, said sharply like hitting a brass gong at dead of night and then someone would say, 'Shhh, was that him? Did he call out?' and tiptoeing would startle the old floorboards while a shadow grew larger and larger on his wall; bent to hear if he was stirring and so, annoyed with their secrets, he would feign sleep until whoever it was retreated to the kitchen and the whispering hissed up again like damp green eucalyptus logs burning.

    This quirky handbook of Italian gestures, first published in 1958 by renowned Milanese artist and graphic designer Bruno Munari, will help the phalange-phobic decipher the unspoken language of gesturesa language not found in any dictionary. Charming black-and-white photos and wry captions evoke an Italy of days gone by. Speak Italian gives a little hand to anyone who has ever been at a loss for words.

    Screenplays of three of Bergman's most famous films- which combine universal themes with incredibly intimate situations and superb characterisation:all the figures are recognisable in the modern cosmology of the spirit.

    Castello, a village in Epirus is not spared all the death and destruction which culminated during the Holy Week.

    Lord have pity on us!"With these words, Pierre Boulle hurtles the reader onto the Planet of the Apes. In this simian world, civilization is turned upside down: apes are men and men are apes; apes rule and men run wild; apes think, speak, produce, wear clothes, and men are speechless, naked, exhibited at fairs, used for biological research. On the planet of the apes, man, having reached to apotheosis of his genius, has become inert.To this planet come a journalist and a scientist. The scientist is put into a zoo, the journalist into a laboratory. Only the journalist retains the spiritual strength and creative intelligence to try to save himself, to fight the appalling scourge, to remain a man.Out of this situation, Pierre Boulle has woven a tale as harrowing, bizarre, and meaningful as any in the brilliant roster of this master storyteller. With his customary wit, irony, and disciplined intellect and style, the author of The Bridge Over the River Kwai tells a swiftly moving story dealing with man's conflicts, and takes the reader into a suspenseful and strangely fascinating orbit.

    The desertion triggers a searing re-examination of his life—the loss of his sister during the war, the demands of his millionaire father and the hypocrisies of his mother, who first fought to “save” Germany from the Jews, then worked for “reconciliation” afterwards.

    Brooks shows that Faulkner's strong attachment to his region, with its rich particularity and deep sense of community, gave him a special vantage point from which to view the modern world.Books's consideration of such novels as Light in August, The Unvanquished, As I Lay Dying, and Intruder in the Dust shows the ways in which Faulkner used Yoknapatawpha County to examine the characteristic themes of the twentieth century. Contending that a complete understanding of Faulkner's writing cannot be had without a thorough grasp of fictional detail, Brooks gives careful attention to what happens: In the Yoknapatawpha novels. He also includes useful genealogies of Faulkner's fictional clans and a character index.

    Jody discovers she has magic powers, and turns a mop into a person.

    This is a new edition of perhaps the most important of these. It draws on a variety of sources, including Taoism (specifically texts attributed to Lao Tzu and Chuang Tzu); Buddhism (especially the Heart, Diamond, and Lankavatara Sutras); Chan Buddhism (as taught by Hui Neng, Huang Po, Hui Hai, etc.); and the teachings of Padmasambhava and Sri Ramana Maharshi, among others. This classic gem of Eastern spirituality will find a renewed readership in the current climate of interest in Buddhism. Wei Wu Wei's unique and fresh interpretation of the ancient teachings opens the reader's eyes: "Why are you unhappy? Because 99.9 percent of everything you think, and of everything you do, is for yourself--and there isn't one." This powerful book rewards by exposing illusions and takes the reader beyond logic to the inexpressible truth of existence. Author Biography: The identity of Wei Wu Wei was not revealed at the time of the publication of his first book. But we now know a few background details that help put the writings into context. He was born in 1895 into a well-established Irish family, was raised on an estate outside Cambridge, England, and went to Oxford. Early in life, he pursued an interest in Egyptology. This was followed by a period of involvement in the arts in Britain in the 1920s and 1930s. Having exhausted his interest in this field, he turned to philosophy and metaphysics, traveling throughout Asia and spending time at the ashram of Sri Ramana Maharshi. In 1958, at the age of 63, he saw the first of the Wei Wu Wei <%END%>

    Modeled on the "casebooks" often used in freshman English classes at the time, The Pooh Perplex contains twelve essays written in different critical voices, complete with ridiculous footnotes, tongue-in-cheek "questions and study projects," and hilarious biographical notes on the contributors. This edition contains a new preface by the author that compares literary theory then and now and identifies some of the real-life critics who were spoofed in certain chapters.

    It is an authentic record from the inferno of modern city life, and a testament of American experience. Seldom has there been so ruthless, and yet so tender a dissection of the mother-son relationship. And from it Lizzie Dahlberg emerges as one of the unforgettable characters of modern literature.

    Mother told me my great-grandmother way back in the Dark Ages wrote hundreds and hundreds of novels. She was called Elinor Glyn and Lord Curzon was madly in love with her and I thought if she can, so can I."No Burbles. This could be no less than the truth for Caroline Glyn, who is in fact Elinor Glyn's great-granddaughter but whose prose is much better. It can be said confidently that Caroline's 256-page tale of English school life is the best novel by a 15-year-old ever written; more important, it is one of the best school stories to emerge from any age group.Most readers approaching such a work will have a suspicious eye out for innocent fakery or artless burble, but will find neither. All the grandeurs and miseries of life between nine and 15 are experienced by Caroline's heroine—Antonia Rutherford ("Buddersmud" to her coevals). All the savagery of child civilization boils about the muddy asphalt and precipitous stone stairs of the London primary school. Derision and clownish aggression is the prechivalric code between the nonsexes. There are friendships of Byronic intensity and power alliances of Renaissance intricacy. The tormented teaching staff is examined through a child's merciless eye for dandruff, horse teeth, injustice and facial tics. One of them (the one with the horse teeth) has the pedagogic foible—enchanting to the young—of hanging them by the heels to demonstrate vulgar fractions.No Worry. It is all great fun. As there should be, there is a lot about Mummy, who is a worrying sort, and Daddy, who is not. Daddy is a painter, and if the reader finds him not so delightful as his daughter does, that, too, is as it should be. No one could. And surely all hearts will echo to the anti-school manifesto Antonia puts in her private book (known to this precocious moppet as her "escapism book"): "IT'S NOT FAIR IT'S NOT FAIR IT'S ALL A BIG NIDDLE."

    were state supported or state controlled. They were local, parent-teacher enterprises, supported without taxes, and taking care of all children. They were remarkably high in standard and were Christian. From Mann to the present, the state has used education to socialize the child. The school's basic purpose, according to its own philosophers, is not education in the traditional sense of the 3 R's. Instead, it is to promote 'democracy' and 'equality,' not in their legal or civic sense, but in terms of the engineering of a socialized citizenry. Public education became the means of creating a social order of the educator's design. Such men saw themselves and the school in messianic terms. This book was instrumental in launching the Christian school and homeschool movements.

    Opening with a reminiscence of the international Dada movement in the late 1910s and its transformation into the beginnings of surrealism, Lost Profiles then proceeds to usher its readers into encounters with a variety of literary lions. We meet an elegant Marcel Proust, renting five adjoining rooms at an expensive hotel to "contain" the silence needed to produce Remembrance of Things Past; an exhausted James Joyce putting himself through grueling translation sessions for Finnegans Wake; and an enigmatic Apollinaire in search of the ultimate objet trouvé. Soupault sketches lively portraits of surrealist precursors like Pierre Reverdy and Blaise Cendrars, a moving account of his tragic fellow surrealist René Crevel, and the story of his unlikely friendship with right-wing anti-Vichy critic George Bernanos. The collection ends with essays on two modernist forerunners, Charles Baudelaire and Henri Rousseau. With an afterword by Ron Padgett recounting his meeting with Soupault in the mid 70's and a preface by André Breton biographer Mark Polizzotti, Lost Profiles confirms Soupault's place in the vanguard of twentieth-century literature."Philippe Soupault was a central figure in both the Dada and Surrealist movements but throughout his long life walked under no banner except the one of artistic freedom. In this previously untranslated book, he gives us a collection of richly remembered portraits of some of his best-loved friends from the old days of the new modernism. As a glimpse into that time, these lost portraits are invaluable—and often deeply moving."—Paul Auster, author of Report from the Interior"Reading Alan Bernheimer's splendid translation of Soupault's memoir, I forgot that it was a translation, that it was Soupault writing or talking about another time, about his friends of one century past. I read myself into these vivid and virile (so, sue me!) assaults on time, and Time stopped."—Andrei Codrescu, author of The Posthuman Dada Guide: Tzara and Lenin Play Chess"Philippe Soupault was present at the creation of both Dada and Surrealism—collaborating with André Breton to produce The Magnetic Fields, the first book of automatic writing—before going his own way as a poet, novelist, and journalist. In this present volume, Soupault's fierce independence, deep wit, and generous heart shine through a set of sharply observed portraits of European writers—fellow geniuses, most of them known to him personally. Alan Bernheimer's fine translation allows Soupault's vibrant voice to come to life in our time, and to reanimate in turn some of the greatest spirits of the past century's literature—a marvelous and much-needed apparition."—Andrew Joron, author of Trance Archive: New and Selected Poems"In this dazzling book—adroitly, smoothly & accurately translated by poet Alan Bernheimer—poet & co-founder of Surrealism Philippe Soupault trains his great secret eye & ear to auscultate an astounding range of core 20th century literary figures he knew personally. And does so with serenity, humor & profound insight. Like none of the academic histories covering this period, no matter how well written and documented, this book makes you say as you devour it: 'Wish I had been there.' Enough said, I’m going to call René Crevel right now."—Pierre Joris, author of Barzakh: Poems 2000-2012Philippe Soupault (1897-1990) served in the French army during WWI and subsequently joined the Dada movement. In 1919, he collaborated with André Breton on the automatic text Les Champs magnétiques, launching the surrealist movement. In the years that followed, he wrote novels and journalism, directed Radio Tunis in Tunisia, and worked for UNESCO.

    In this outstanding collection of sixteen essays, the world-renowned critic and scholar discusses various works in the central tradition of English mythopoeic poetry, paying particular attention to the centrality of Romanticism.

    The Bolsheviks, however, pursued their goals with an iron fist rather than with a free and idealistic hope that nurtured the individual. Russell was also staunchly opposed to the way that Bolshevism saw itself as a religion, with practices and beliefs that could brook no doubt. This, he determined, was no better than the Catholic Church, which he opposed.Anyone with an interest in Communism and the Soviet Union will find this a deeply thoughtful book.British philosopher and mathematician BERTRAND ARTHUR WILLIAM RUSSELL (1872-1970) won the Nobel Prize for Literature in 1950. Among his many works are Why I Am Not a Christian (1927), Power: A New Social Analysis (1938), and My Philosophical Development (1959).

    While she was still a foal her mother was killed by lightning, so that La Bruja learnt early to fight for her existence and grew into a fierce, independent creature whose mixed percentage had bequeathed her a strangely ugly face but wonderful fleetness of foot

    The bride recounts, vividly and hilariously, her and her Mother’s plans for an English country wedding, how they dealt with Uncle George (The Head Of The Family), and their success in making sure that on her wedding day the church was filled with music and flowers (both officially banned due to the “mixed” marriage of a Catholic bridegroom and a Church of England bride). She subsequently finds herself living on a horse-rearing estate in a rural part of Portugal, coping with a truculent cook, a primitive kitchen (no electricity, no gas, no fly screens, no taps — unlike the stables, which were far more up-to-date) and watching a husband gradually turning into a horse before her eyes…. In Lisbon, a four-hour drive away, lived her husband’s parents, his nine brothers and sisters, an unending procession of aunts, uncles and cousins, and a large number of family servants. She recounts the ups and downs of the early months of her married life at Reinaldo, the family property which she struggles to make her own. Iron bedsteads, straw mattresses and numerous pictures of the Holy Family gradually make way for chintz, bookshelves, and comfortable veranda furniture; chicken-with-rice-and-peppers are replaced by duck and lemon meringue, though a new young cook is swiftly appropriated by her mother-in-law, which could be thought of (but not by the writer) as a compliment. Friends and neighbours are also keenly observed in this light-hearted, observant and humorous account of a girl’s path from an English country cottage and a London flat, to love, marriage and motherhood on a traditional country estate in Portugal.

    For a New Novel reevaluates the techniques, ethos, and limits of contemporary fiction. This is a work of immense importance for any discussions of the history of the novel, and for contemporary thinking about the future of fiction.

    But after a horrifying defeat at Voroshenko, where most of his Eighth Hessian Infantry Regiment was slaughtered in a single instant, Bachmann was declared mentally unfit to serve. Incapable of accepting this judgment, and of returning to his girlfriend and a quiet life as a gold- and silversmith, Bachmann wanders the war-ravaged countryside, trying to find a way to rejoin his regiment, or any regiment, and return to the front.While trying to find his regiment and come to terms with the horrors he has seen and committed, the increasingly unstable Bachmann is manipulated by a series of figures from the underbelly of war’s underbelly—deserters and collaborators, corrupt officers and sexual predators—who induce him to carry out their venal missions, which they’ve justified against the background of institutionalized murder going on all around them.Containing dark echoes of Jaroslav Hašek's The Good Soldier Švejk, Jakov Lind's Landscape in Concrete is an "astonishing and highly original imagining of (the) dimensions of evil including sadistic cruelty, of the condition of being a victim and the madness abroad which constitutes the virtual victory of Hitler if we fail to translate survival into freedom" (Anthony Rudolf).

    This collection includes Advice to a Prophet and Other Poems, Things of This World, Ceremony and Other Poems, and The Beautiful Changes and Other Poems.  "One of the best poets of his generation, Richard Wilbur has imagined excellence, and has created it." —Richard Eberhart, New York Times Book Review

    With alternating interior monologues, the author conjures up the members of the Glace family: Vera, the mother who has willed herself sightless; Erlene, the daughter, who has stopped speaking; and Edward, the husband who abandons his family to make a genealogical study of a family in a distant land. Beyond this is a mind that has burst the confines of everyday individual consciousness and invented its own tormented reality.

    

    She had to make a new life for herself when she suddenly fund she was without home, parents or guardian. So she decided to take a post as companion to Brad's mother.Installed at Rock Hill, Kylie fell deeper and deeper in love with Brad. Like many a girl before her she discovered that the man she loved wan an enigma-yet Kylie was compelled to follow her star-wherever it might lead...

    And he sets forth his amazing and challenging ideas for the world of the future - ideas that would revolutionize everything from university education to bathroom design, ideas that, above all, demonstrate how we can and must make for more imaginative and efficient use of the resources now available to us to ensure a better standard of living for all men. --- from book's back cover

    A Vicarage Family is the first part in a fictionalized autobiography in which Noel Streatfeild tells the story of her own childhood, painting a poignant and vivid picture of daily life in an impoverished, genteel family in the years leading up to the First World War.In the story there are three little girls - Isobel, the eldest, is pretty, gentle and artistic; Louise the youngest, is sweet and talented - and then there is Vicky, 'the plain one', the awkward and rebellious child who doesn't fit in at school or at home. Growing up in a big family Vicky feels overlooked but gradually begins to realize that she might not be quite as untalented as she feels.The Vicky of this story is, of course, the much-loved Noel Streatfeild who went on to write so many wonderful family stories, the most famous being Ballet Shoes.

    For Foucault this was "by far the book I wrote most easily and with the greatest pleasure". Here, Foucault explores theory, criticism and psychology through the texts of Raymond Roussel, one of the fathers of experimental writing, whose work has been celebrated by the likes of Cocteau, Duchamp, Breton, Robbe Grillet, Gide and Giacometti.This revised edition includes an Introduction, Chronology and Bibliography to Foucault's work by James Faubion, an interview with Foucault, conducted only nine months before his death, and concludes with an essay on Roussel by the poet John Ashbery.

    WagnerWilliam Dean HowellsEnglish As She Is TaughtA Simplified AlphabetAs Concerns Interpreting The DeityConcerning TobaccoThe BeeTaming The BicycleIs Shakespeare Dead?The War PrayerThou Shalt Not KillThe FlyLetters From The EarthAbout the Publisher: Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, Esoteric and Mythology. Forgotten Books is about sharing information, not about making money. All books are priced at wholesale prices. We are also the only publisher we know of to print in large sans-serif font, which is proven to make the text easier to read and put less strain on your eyes.

    It principal thesis is that many centuries of intensifying wet-rice cultivation in Indonesia had produced greater social complexity without significant technological or political change, a process Geertz terms "involution".Written for a US-funded project on the local developments and following the modernization theory of Walt Whitman Rostow, Geertz examines in this book the agricultural system in Indonesia and its two dominant forms of agriculture, swidden and sawah. In addition to researching its agricultural systems, the book turns to an examination of their historical development. Of particular note is Geertz's discussion of what he famously describes as the process of "agricultural involution" in Java, where both the external economic demands of the Dutch rulers and the internal pressures due to population growth led to intensification rather than change.

    His poems are vivid and sensuous. In Cider with Rosie he recalls the unspoilt country of his childhood; and in this deeply moving essay Laurie Lee writes of the birth of his first child."This moment of meeting seemed to be a birthtime for both of us; her first and my second life. Nothing I knew would be the same again...She is of course just an ordinary miracle, but is also the late wonder of my life. So each night I take her to bed like a book and lie close and study her".

    Two of the twelve beggars in the film were not professional actors: the woman dwarf (she was a lottery ticket vendor in Madrid) and the leper. "I remember in particular the remarkable character who played the leper," Bunuel wrote. "He was half beggar, half madman, and was allowed to live in the studio courtyard during the shooting. The man paid no attention whatsoever to my directions, yet he's marvelous in the movie." - from the foreword by Inga Karetnikova

    He served in the Royal Navy during the Second World War with The Odyssey always at the foot of his bunk. Having settled in Malta after the war, he took his small yacht in search of his hero Ulysses. Starting at Troy, taking into account the winds that Ulysses would have encountered, he checked capes, islands, caves and harbours against Homer's description of Ulysses' landfall; all are described and identified. He provides convincing arguments for the locations of the Land of the Lotus Eaters, the Cyclops' Cave, Circe's Island and the beach upon which Ulysses was washed up naked at the feet of Nausicaa and many others. This book will appeal to the armchair traveller, the literary detective and all who love Homer's great poem. It gives the chronology of Ulysses' voyage, and is illustrated with photographs and maps.

    The Claytons open a branch office of their business in Vienna, the center of that incredibly varied and complex universe that was the Austro-Hungarian Empire before World War I. Their ensuing social and personal entanglements furnish the materials of a superbly civilized family chronicle (quite the opposite from Sun & Moon's recent von Doderer novel, The Merowingians), whose central symbol is a gigantic, thundering mass of water -- a force that may be life-giving or terribly destructive. Beneath a staunchly bourgeois surface, von Doderer's story telling is heavily tinged with ironic social commentary and suffused with acute, post-Freudian psychology.

    The ultimate possibility—that life exists beyond earth—is no longer a fantasy but the subject of scientific experimentation. Humans and extraterrestrial beings may be making CONTACT today—certainly tomorrow.The first, explosive, grappling instant of encounter between Man and Alien is the subject of this extraordinary journey of man's imagination into the unknown, by the masters of Science Fiction.Contents:Introduction • essay by Noel Keyes First Contact • (1945) • novelette by Murray Leinster Intelligence Test • (1953) • short story by Harry Walton The Large Ant • (1960) • short story by Howard Fast What's He Doing in There? • (1957) • short story by Fritz Leiber Chemical Plant • (1950) • short story by Ian Williamson Limiting Factor • (1949) • shortstory by Clifford D. Simak The Fire Balloons • (1951) • short story by Ray Bradbury Invasion from Mars • (1938) • short fiction by Howard Koch The Gentle Vultures • (1957) • short story by Isaac Asimov Knock • (1948) • short story by Fredric Brown Specialist • (1953) • short story by Robert Sheckley Lost Memory • (1952) • short story by Howard Browne (as by Peter Phillips)

    

    Collection of short stories.

    The two met in Ravensbruck concentration camp in 1940. Both were political prisoners, Milena for inflammatory anti-Nazi articles, Margarete for her political affiliations. For four terrible years these two women formed a bond and a friendship so strong that their everyday survival depended on it. They made a pact: should only one survive, the other would bear witness to the one who died. It was Margarete who lived to remember in this story of fearless love, sacrifice, and nobility.

    Clair King --Fiesta parade / Eleanor Hoffmann --A Touch of Arab / Vivian Breck --Sundance / June Hall Mills --Palomino cupid / Frances Priddy --Two for the show / Ellsworth Newcomb --A Horse in her future / Margaret Burrage --Ana Paula and the golden horse / Marian Garthwaite --Tall as the stars / Janet Lambert.

    Homesteading in the Peace River country, ranching in the foothills, camping among the mountains, trapping up the Nahanni, Patterson's life in Canada was a far cry from his years in the mellow beauty of Oxford, and the formality of the Bank of England. This dashing adventurer became an expert outdoorsman and an outstanding writer.

    This classic, provocative introduction to classical metaphysical questions focuses on appreciating the problems, rather than attempting to proffer answers.

    Realistically narrated in the first person by Charles Stevenson -- a light-skinned African American newcomer to Manhattan from small-town Missouri -- the novel dramatizes the isolation and alienation of those who fall prey to America's social, economic, and racial caste systems. Stevenson works as an office messenger and constantly finds himself on the edges of power, yet is utterly devoid of any. A man perceived as neither black nor white, “a minority within a minority,” he drifts through the naturalistic city of New York, where victory and defeat are accepted “with the same marvelous indifference.”

    In a few intense years he forged almost ingle-handedly a vital, mature literary language in Bahasa Indonesia, a language which formally came to exist in 1928. Anway led the way for the many Indonesian writers who have emerged during the past fifty years.

    A fugitive from his native Iceland and without family, Beorn cannot believe his good fortune in being adopted by a powerful Viking warrior.Plunged into a seafaring life that demands strength, determination and courage, Beorn rapidly grows from boy to man under the rigorous Viking code of conduct.

    A play concerning the return to his family of a much-hated, unforgiven father.

    Ragusa has presented all the Italian really needed in everyday life and contemporary situations, without devoting space to the intricacies of literary, archaic, and poetic forms that you are not likely to need.It is remarkable how readily Italian grammar lends itself to this form of essential grammar, for within this book Miss Ragusa has presented her material with such clarity that you will probably remember most of what you have read after a single reading. Among the unusual features of this presentation are an extremely clear statement of the complex pronoun situation, an easily followed analysis of the various verb tenses and moods, and a most useful discussion of the many verb idioms that are so important in Italian.All the major aspects of Italian grammar are presented in logical, developmental order: vocabulary, vocabulary building, word order, turning negative sentences into positive and vice versa, forming questions, nouns, articles, prepositions, adjectives, adverbs, verbs, verbal idioms, and whatever else is necessary to a knowledge of essential Italian. An appendix contains clear definitions of all the grammatical terms used in the book.Essential Italian Grammar is not a simplified grammar, not an abridged grammar, but a selected grammar for adult use, with emphasis upon explanation rather than rote memory, and with inclusion of much phrase material for examples. It can be used as a supplement to a course, as an introduction, or as a refresher for those who have already studied Italian.

    A revised and updated edition of this established cultural history examines the interplay between eighteenth-century rationalism and nineteenth-century romanticism as they meshed and modified one another to shape the prominent trends of the twentieth century.A new chapter, “The Changing Pace of Life,” skillfully bridges an analysis of romanticism and its link with nationalism by outlining the effects of the Industrial Revolution on all elements of society with particular attention to politics, economics, class identity and conflict, transportation, communication, religion and morality, family structure, medicine, and art.A new conclusion interweaves analysis of the postwar effects of social psychology, the return to liberalism, the emergence of civil rights movements, and the persistence of nationalism beyond the bounds of World War II.

    A portrait of a family as winter changes to spring: Cassie, unwilling to solve her conflict between honesty and tact; her older sister, flirtatious and vain, self-confident and selfish; her college-age brother,looking for love; their mother, lonely for her children's childhood; andtheir father, only an unwelcome visitor when he returns from businesstrips.

    On the condition that they would not be sent south to fight former comrades, they exchanged gray uniforms for blue and headed west to fight Indians, escort supply trains, man lonely frontier outposts, and more.

    The lass finally reveals that she is Anne of Warwick, widow of the Prince of Wales. Joanna assists Anne from the time Anne is captured until she becomes the unhappy bride of Richard and Queen of England. In the process, Joanna falls in love and seeks her fortune at court.

    The Vietminh's victory put the 17 million people of North Vietnam under Communist rule and would, in two years, induce America's attempt to save South Vietnam—without heeding the French army's catastrophic defeat. That defeat, former French soldier Jules Roy explains, occurred not because of a shortage of arms or troops, but more important, less tangible reasons. Hungry for a textbook victory, the French military command occupied the valley in a plan to lure the Vietminh down from the hills to destroy them with supposedly superior artillery. Roy vividly shows how French political infighting in Paris and rivalry in the high command left a few romantic professional officers and soldiers of the French Expeditionary Corps and the Foreign Legion to be surrounded and then overwhelmed by totally dedicated and resourceful enemy forces. Roy also profiles Vietminh soldiers and commanders and how they ended over eighty years of French colonial rule in North Vietnam. 16 pages of black-and-white photographs add to a "moving and dramatic" (New York Times Book Review) account of the battle that led to America's involvement the Vietnam War. "Roy relates the basic facts perceptively and brilliantly.… Americans concerned with … Vietnam … should read The Battle of Dienbienphu." — New York Times Book Review (front page) "A searing portrait of France's failure in Vietnam..." — Philadelphia Inquirer