India's tolerant and diverse vision of the Divine is all here: meditative, devotional, philosophical, scriptural and yogic.

    The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various surreal people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. The Nadja of the book is a girl, but, like Bertrand Russell's definition of electricity as not so much a thing as a way things happen, Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.

    The translators, noted Persian literature scholars Ahmad Karimi-Hakkak and Michael Beard, contribute an illuminating introduction to Kiarostami's poetic enterprise, examining its relationship to his unique cinematic corpus and to the traditions of classic and contemporary Persian poetry. Of interest to enthusiasts of cinema and literature alike, Walking with the Wind—the second volume in Harvard Film Archive's series "Voices and Visions in Film"—sheds light on a contemporary master who transforms simple fragments of reality into evocative narrative landscapes.

    Set in 1507, when the author himself was an attaché to the Duke of Urbino, the book consists of a series of fictional conversations between members of the Duke's retinue. All aspects of leadership come under discussion, but the primary focus rests upon the relationship between advisors and those whom they counsel. Ever-relevant subjects include the decision-making process, maintaining an ethical stance, and the best ways of interacting with authority figures. Frequently assigned in university courses on literature, history, and Renaissance studies, the Dover edition of this classic work will be the lowest-priced edition available.

    Attempts to tell the reader through stories what India is, its traditions, culture, philosophical and religious beliefs customs, etc that are so variagated that it seems there are many Indias, rather that just one.

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    

    The older artist, Rainer Maria Rilke (1875–1926), replied to the novice in this series of letters—an amazing archive of remarkable insights into the ideas behind Rilke's greatest poetry. The ten letters reproduced here were written during an important stage in Rilke's artistic development, and they contain many of the themes that later appeared in his best works. The poet himself afterwards stated that his letters contained part of his creative genius, making this volume essential reading for scholars, poetry lovers, and anyone with an interest in Rilke, German poetry, or the creative impulse.

    So how did George Washington create one of the most powerful bodies in the federal government?On November 26, 1791, George Washington convened his department secretaries--Alexander Hamilton, Thomas Jefferson, Henry Knox, and Edmund Randolph--for the first cabinet meeting. Why did he wait two and a half years into his presidency to call his cabinet? Because the US Constitution did not create or provide for such a body. Washington was on his own.Faced with diplomatic crises, domestic insurrections, and constitutional challenges--and finding congressional help lacking--Washington decided he needed a group of advisors he could turn to. He modeled his new cabinet on the councils of war he had led as commander of the Continental Army. In the early days, the cabinet served at the president's pleasure. Washington tinkered with its structure throughout his administration, at times calling regular meetings, at other times preferring written advice and individual discussions.Lindsay M. Chervinsky reveals the far-reaching consequences of Washington's choice. The tensions in the cabinet between Hamilton and Jefferson heightened partisanship and contributed to the development of the first party system. And as Washington faced an increasingly recalcitrant Congress, he came to treat the cabinet as a private advisory body to summon as needed, greatly expanding the role of the president and the executive branch.

    Its centerpiece is the song cycle, "Drift," which takes the anonymous 10th century Anglo-Saxon quest poem The Seafarer as its inspiration. Both ancient and contemporary tales of travel and exile shadow the plight and losses of wanderers across the waters in this haunting new book. Drift is the second of Bergvall's explorations of historical English language.

    Following on the success of his best-selling The Future of Freedom, Zakaria describes with equal prescience a world in which the United States will no longer dominate the global economy, orchestrate geopolitics, or overwhelm cultures. He sees the "rise of the rest"—the growth of countries like China, India, Brazil, Russia, and many others—as the great story of our time, and one that will reshape the world. The tallest buildings, biggest dams, largest-selling movies, and most advanced cell phones are all being built outside the United States. This economic growth is producing political confidence, national pride, and potentially international problems. How should the United States understand and thrive in this rapidly changing international climate? What does it mean to live in a truly global era? Zakaria answers these questions with his customary lucidity, insight, and imagination.

    Remmy's life of constant schemes and pranks and a lifelong feud with classmate Jim Johnstone and the local oil drilling company proves consequential. This is a hoot."- Publisher's Weekly🏆 finalist for Glimmer Train's Fiction Open.PRANKS. OIL. PROTEST. JOKES BETWEEN NEWLYWEDS.AND ONE HILARIOUS SIEGE OF A MAJOR CORPORATION.Remmy grows up with Beth in Bellhammer, Illinois as oil and coal companies rob the land of everything that made it paradise. Under his Grandad, he learns how to properly prank his neighbors, friends, and foes. Beth tries to fix Remmy by taking him to church. Under his Daddy, Remmy starts the Bell Hammer Construction Company, which depends on contracts from Texarco Oil. And Beth argues with him about how to build a better business. Together, Remmy and Beth start to build a great neighborhood of "merry men" carpenters: a paradise of s’mores, porch furniture, newborn babies, and summer trips to Branson where their boys pop the tops off of the neighborhood’s two hundred soda bottles. Their witty banter builds a kind of castle among a growing nostalgia.Then one of Jim Johnstone’s faulty Texarco oil derricks falls down on their house and poisons their neighborhood's well.Poisoned wells escalate to torched dog houses. Torched dog houses escalate to stolen carpentry tools and cancelled contracts. Cancelled contracts escalate to eminent domain. Sick of the attacks from Texaco Oil on his neighborhood, Remmy assembles his merry men:"We need the world's greatest prank. One grand glorious jest that'll bloody the nose of that tyrant. Besides, pranks and jokes don't got no consequences, right?"

    His manuscript has caught the attention of the literary agent, who offers him fame, fortune, and a taste of the literary life. He can’t wait for his book to be shopped around to every editor in New York, except one: Avi Dietsch, a college rival and the novel’s “inspiration.” When Avi gets his hands on it, he sees nothing but theft—and opportunity. Caleb is forced to make a Faustian bargain, one that tests his theories of success, ambition, and the limits of art.Andrew Lipstein’s Last Resort is the razor-edged account of a young man's headlong journey into authenticity. As Caleb fights to right his mistakes and reclaim his name, he must burn every bridge, confront his own desire, and finally see his work from the perspective of those locked inside.

    When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.Finalist for the T. S. Eliot PrizeFinalist for the Forward Prize for Best Collection

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.