The novel follows the fortunes of its young Jewish narrator, Adele Lindner, as she leaves the impoverished conditions of New York’s Lower East Side and tries to rise in the world. Portraying Adele’s experiences at the Hellman Home for Working Girls, the first half of the novel exposes the “sickening farce” of institutionalized charity while portraying the class tensions that divided affluent German American Jews from more recently arrived Russian American Jews. The second half of the novel takes Adele back to her ghetto origins as she explores an alternative model of philanthropy by opening a restaurant that combines the communitarian ideals of Old World shtetl tradition with the contingencies of New World capitalism. Within the context of this radical message, Yezierska revisits the themes that have made her work famous, confronting complex questions of ethnic identity, assimilation, and female self-realization. Katherine Stubbs’s introduction provides a comprehensive and compelling historical, social, and literary context for this extraordinary novel and discusses the critical reaction to its publication in light of Yezierska’s biography and the once much-publicized and mythologized version of her life story. Unavailable for over sixty years, Arrogant Beggar will be enjoyed by general readers of fiction and be of crucial importance for feminist critics, students of ethnic literature. It will also prove an exciting and richly rewarding text for students and scholars of Jewish studies, immigrant literature, women’s writing, American history, and working-class fiction.

    Krauser's inimitable style is at once richly convoluted and light as air. Krauser has also written the plays Wall Street Made Simple and Horrible Child.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

    Gorn's The Manly Art tells the story of boxing's origins and the sport's place in American culture. When first published in 1986, the book helped shape the ways historians write about American sport and culture, expanding scholarly boundaries by exploring masculinity as an historical subject and by suggesting that social categories like gender, class, and ethnicity can be understood only in relation to each other.

    After delivering the final proofs of his landmark study, Joseph Smith: Rough Stone Rolling to Knopf in July 2005, Bushman crisscrossed the country from coast to coast, delivering numerous addresses on Joseph Smith at scholarly conferences, academic symposia, and firesides. This startlingly candid memoir concludes eleven months later with an article written for Common-Place in August 2006. Bushman confesses to hope and humility, an unexpected numbness when he expected moments of triumph, and genuine apprehension as he awaits reviews. He frets at the polarization that dismissed the book as either too hard on Joseph Smith or too easy. He yields to a very human compulsion to check sales figures on amazon.com, but partway through the process stepped back with the recognition, "The book seems to be cutting its own path now, just as [I] hoped." For readers coming to grips with the ongoing puzzle of the Prophet and the troublesome dimensions of their own faith, Richard Bushman, a temple sealer and stake patriarch but also a prize-winning scholar, openly but not insistently presents himself as a believer. "I believe enough to take Joseph Smith seriously," he says. He draws comfort both from what he calls his "mantra" ("Today I will be a follower of Jesus Christ") and also from ongoing engagement with the intellectual challenges of explaining Joseph Smith.

    He shows how broad Tarantino's points of reference are, and analyzes the narrative accomplishment and complexity. In addition, Polan argues that macho attitudes celebrated in film are much more complex than they seem.

    Ayya Khema, author of the best-selling Being Nobody, Going Nowhere, uses one of the earliest Buddhist suttas to guide us along the path of the oldest Buddhist meditative practice for understanding the nature of "self." By following the Buddha's explanation with clear, insightful examples from her years of teaching meditation, she guides us back and forth between the relative understanding and higher realizations of the Buddhist concept of "self." Her thoughtful contemplation of the Buddha's radical understanding of "self" and her practical advice for achieving insight offer the reader a profound understanding of the "self." Both beginning and advanced practitioners will greatly benefit from Ayya Khema's warm and down-to-earth exposition of the Buddha's meditation on "self."

    Taken from the biblical image of the shepherd, the pastor by virtue of his or her professional calling cultivates wise judgment in order to hear the hurting and offer guidance, reconciliation, healing, sustaining presence, and empowerment to those in need. This book will outline the quintessential elements pastors need to wisely minister in today's context by discussing four major kinds of lostness: grief, illness, abuse, and family challenges. The purpose of the Abingdon Essential Guides is to fulfill the need for brief, substantive, yet highly accessible introductions to the core disciples in biblical, theological, and religious studies. Drawing on the best in current scholarship, written with the need of students foremost in mind, addressed to learners in a number of contexts, Essential Guides will be the first choice of those who wish to acquaint themselves or their students with the broad scope of issues, perspectives, and subject matters within biblical and religious studies.

    Residing in a grand manor on the glittering Sydney Harbour, her family finds their life has turned upside down. As she navigates this strange new world, Alice must weave an existence from its shimmering mirage.Lies and self-deception are at the heart of this keenly observed story. This is a sharp, biting, and playful tale with a cast of unscrupulous characters adrift in a dream life of their own making. Written with the characteristic delicacy of touch, humor, and emotional insight that make Claire Messud one of our greatest writers."A novelist of unnerving talent." --The New York Times Book Review"[Messud is] among our greatest contemporary writers." --The New Yorker"A perfect frolic of a book, puffed on breezes of beauty and wit: it waltzes you through a little fear, a little darkness, and tips you out, refreshed and laughing, into the sun." --Helen Garner

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    Its fans tend to be fanatical, congregating at 'Lebowski Conventions' in bowling alleys across American and Britain, and even dressing up as characters from the film. Among the funniest films of the last twenty-five years, and one of the high-water marks of 1990s genre recycling and pastiche, The Big Lebowski is also littered with playful and subversive references to film history, especially to Raymond Chandler's world of hardboiled detective classics and the world of film noir. The Big Lebowski is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation. Underneath the film's breakneck pacing and foul-mouthed characters, a farcical collection of flakes, losers, and phonies, is a surprisingly humane account of what fools we mortals be. It is one of the oddest buddy films ever made, with extraordinary performances by Jeff Bridges and John Goodman. In this study, The Big Lebowski is set into the context of 1990s Hollywood cinema, anatomised for its witty relationship with the classics which it satirises, and discussed in terms of its key theme: the hopeless flailing of ridiculously unmanly men in the world of discombobulated, mixed-up, or put-on identities that is Los Angeles.

    But after accidentally becoming involved a tragic fatal accident, they become embroiled in a situation out of their control, and Joe and Imogen's relationship becomes slowly unravelled until the truth is out there for all to see ... Structured around a dramatic and tense court case, the reader becomes both judge and jury in a stunning and page-turning novel of uncovering secrets and lies — who can be believed?Shortlisted for the Warwickshire Year 9 Book Award 2021Shortlisted for the Wirral Book Awards 2021Longlisted for the Cumbria SLS Spellbinding book awards 2021

    The technique is controlled, not ostentatious, and one senses here a conscious link to the work of older poets such as Larkin and Levertov. Karr's strength lies in her delicate and meticulous control of detail. Characteristically, she describes a cat's nighttime prowl with humor and precision: `` . . . he pounced and rabbit-kicked my head. / I had to disentangle from my hair / all four sets of claws, then tossed him / out into the pyramid of boxes / we'd erected in the yard.'' Such loving attention to seemingly insignificant events is reminiscent of the early work of Adrienne Rich and the use of imagery is similarly evocative (``When the moon / clicked over the sun like a black lens / over a white eye. . . ''). Karr's work generally falls into clipped stanzas, the lines flowing over for an effect of ironic tension appropriate for much of the ``devilish'' material with which she is concerned. While the poet's unflinching consciousness stands out in this text, the poetic voice is not completely developed. (Apr.)

    That is maverick marketing whiz Mike Veeck's Fun Is Good philosophy in a nutshell. And in this book, he demonstrates how it has worked, not only to make an evening at one of his minor league ballparks—full of laughs, zany promotions, and free giveaways—enjoyable for everyone, but also how it can turn any organization into a thriving one.

    A systematic exploration of small, medium, and large churches, their distinct personalities, and their place in God's kingdom.