It was the quintessential “good war,” in which the forces of freedom triumphed over the forces of darkness. Now, in his provocative new book, historian Michael Bess explodes the myth that this was a war fought without moral ambiguity. He shows that although it was undeniably a just war—a war of defense against unprovoked aggression—it was a conflict fraught with painful dilemmas, uneasy trade-offs, and unavoidable compromises. With clear-eyed, principled assurance, Bess takes us into the heart of a global contest that was anything but straightforward, and confronts its most difficult questions: Was the bombing of civilian populations in Germany and Japan justified? Were the Nuremberg and Tokyo war crimes trials legally scrupulous? What is the legacy bequeathed to the world by Hiroshima? And what are the long-term ramifications of the Anglo-American alliance with Stalin, a leader whose atrocities rivaled those of Hitler? Viewing the conflict as a composite of countless choices made by governments, communities, and—always of the utmost importance—individuals, Bess untangles the stories of singular moral significance from the mass of World War II data. He examines the factors that led some people to dissent and defy evil while others remained trapped or aloof, caught in the net of large-scale operations they saw as beyond their control. He explains the complex psychological dynamics at work among the men of Reserve Battalion 101, a group of ordinary working-class Germans who swept through the Polish countryside slaughtering Jews, and among the townspeople of the Plateau Vivarais-Lignon, who rescued thousands of Jewish refugees at their own peril. He asks poignant hypothetical questions, such as what would have happened had the Catholic Church taken a hard line against Nazism, placing an imperative on its members to choose between their loyalties. As Bess guides us through the war’s final theater, the politics of memory, he shows how long-simmering controversies still have the power to divide nations more than half a century later. It is here that he argues against the binaries of honor and dishonor, pride and shame, and advocates instead an honest and nuanced reckoning on the part of the world’s nations with the full complexity of their World War II pasts. Forthright and authoritative, this is a rigorous accounting of the war that forever changed our world, a book that takes us to the outer limits of moral reasoning about historical events.

    And then one day, she happens to meet Hiro, the guy of her destiny. While experiencing many sad events, and while getting hurt, the time she spends with him is still one of the most happy moments in her life…

    It is the only study to examine epigraphic, historical, and archaeological evidence in order to gain insight into the way Romans used funerary texts to establish a dialogue with their own society. Maureen Carroll brings together a large body of material from many geographical areas, shedding light on provincial and regional variation in funerary commemoration and even on the differences between funerary traditions of neighbouring towns.

    Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.

    Her mother drives her crazy with her constant criticism and advice, and her boyfriend of two years just destroyed her whole world by dumping her on her birthday. It’s just as well that Katie’s headed to a summer program at the University of Texas in Austin–at least there, she can get over Chuck at her own pace. But Austin holds its own challenges–like Christine, a cooler-than-thou roommate whose rocker boyfriend is permanently camped out on the couch. When Christine drags Katie to the city pound to check out a potential pet, it’s Katie who’s mesmerized by a pair of brown doggie eyes. Before she can think it through, she’s standing out on the curb with her adorable new dog, Seamus.There’s only one problem: Seamus is a holy terror. He chews up the apartment, barks maniacally, terrorizes their landlady’s cat, and seems destined to keep the cutest guy in their building at arm’s length. When Katie takes Seamus in for obedience training, she’s told, “You have to be the alpha dog.”The alpha dog. The head of the pack. Katie has never wielded much power before, but she finds that being top dog can be addictive. Soon she’s acting the alpha dog in every phase of her life, and nothing will ever be the same.From the Trade Paperback edition.

    “I will wait for you until 35” is the memory of his real life experience. In March 2008, he threw himself into the river, two years after breaking up with his boyfriend. His body flowed 15 days in the cold water when they finally found him. At that time he was only 28. He could not keep his promise to wait until 35, leaving his parents and his sisters speechless behind. They did not know that why he died or that he was homosexual. It was proven that he suffered from depression before he died. After he died, his readers wrote tons and tons of messages into the forum not believing what has happened. Many were just sad, some were angry; others were just saying he was stupid. His short story “I will wait for you until 35” has been published on to many forum and homepages, and there are two radio versions of it. Source/Credit: http://bl-fic.livejournal.com