wars are getting repetitive. Always the same old scenario. The mainstream media alert public opinion to the latest "villain" supposedly threatening to slaughter "his own people." The U.S. does the job instead with its drones and missiles. The new "villain" is soon forgotten, but his country is left in a shambles, with competing fanatics vying to dominate the chaos. Something new is needed. How about a woman War President? Hillary Rodham Clinton has painstakingly groomed herself for the role. Her record as Secretary of State shows that she is fully qualified to be the first woman to be known as the "mother of all drones" or even to launch World War III.

    The next twenty years would be a study in Murphy’s Law—whatever could go wrong did. Just when things seem at their worst—he's losing his farm, his relationship with his wife is crumbling—a miracle happens: Murphy gets a chance to reboot his life.Back in his teenaged body in 1991, he realizes by changing his past, he can have the future he always wanted. Everything he lost is within his reach, even his high-school sweetheart.But what about the devoted wife he left behind? Torn between two women—two lives—he can only choose one future. Murphy must decide if getting everything he’s ever wanted is worth giving up everything he’s ever had…

    Back then, she was a smart, feisty girl who landed a spot on War Stories, one of the hottest literary reviews in the nation. Her straitlaced military family didn't envision a stint as a war correspondent as the proper venue for their well-protected daughter, and much preferred that she settle down with someone reliable, like Al White. And so she does, but not before she lives just a little... Diane, her daughter, is a woman in the middle in every way, juggling her growing jewelry business with the demands of her husband and children with admirable aplomb... until the day the FBI comes knocking on their door, asking about her mother... Julia, Diane's daughter and a student at the prestigious Gressex Academy, has a secret of her own. She has fallen in love with Sam Weyborn - with a passion only possible when one is eighteen. Nothing matters more than being with him, and she's willing - despite her mother's deep concern - to risk everything to be with him forever. Three generations of women - grandmother, mother, daughter - each at a turning point, each linked by the secrets they discover about themselves and each other, secrets that reach back to the days of World War II and some of the most exciting times of this century. For each, the process of discovery will be an unforgettable one - dramatic, heart-wrenching, but ultimately healing - and one that will bring them together in a way nothing before in their lives has. Not since her classic Three Women at the Water's Edge has Nancy Thayer created a generational novel this memorable. Whether you're just discovering Nancy Thayer or have been a devoted reader for years, Family Secrets is a richly textured, wholly adsorbing story that will ring true for women of all ages.

    The author captures the dynamics of the evolving debates about European unity and examines the factors that led to today's union.

    

    

    Usually depicted as the lush and green world of rural quiet and tranquility, the Valley becomes the backdrop for the difficulties these characters confront as they try to maintain hope and independence in the face of isolation. In the title story, a teenage boy learns the consequences of succumbing to the lure of a town outsider; in "Campo," a young farm worker frantically attempts to hide his supervision of a huddle of children from the town police, only to have another young man come to his unexpected rescue; in "The Unimportant Lila Parr," a father must expose his own secrets after his son is found murdered in a highway motel. From conflicts of family and sexuality to the pain of loss and memory, the characters in Zigzagger seek to reconcile themselves with the rural towns of their upbringing—a place that, by nature, is bordered by loneliness.

    Lawrence classic story of the lady who embarks on an affair with the gamekeeper in order to fulfil the physical side of her marriage to a paralyzed husband.

    An honest and troubling snapshot of Israel—both Palestinian and Israeli—that reveals the creeping realization that a two-state solution may no longer be possible."—Kirkus (starred review)Throughout their youth Nir Baram’s generation were bombarded with news about the Israeli-Palestinian conflict—the injustices, the wrongdoings, the killings. Over the decades, the horror and despair had become habit—he noticed people had begun to give up on the possibility of resolution. Yet, as Baram notes, ‘the vast majority of Israelis—as well as international onlookers— know next to nothing about life on the West Bank, the area at the heart of the conflict they have spent their adult lives dissecting’. Most have never visited the occupied territories, and thus ‘the debate revolves around a theoretical, ill-defined area sketched out in our political imagination.’This book of reportage emerged from the author’s realization that Israel is separated from the West Bank not only by checkpoints but also, more significantly, by a cognitive barrier. And so began his quest to understand the occupation from both sides. The result is an essential and nuanced journey through places and experiences that receive little coverage.Baram, widely considered one of the most important intellectual voices in Israel today, faces painful challenges to his personal political views and his hopes for a more peaceful future.Nir Baram has worked as a journalist, editor, and advocate for Palestinian rights. He is the author of five novels in Hebrew. In 2010 he received the Prime Minister’s Award for Hebrew Literature.

    One essay discusses the historical events that surround Angelou's life: the civil rights, black power, and black arts movements as well as the emergence of black women's literature. Another provides a survey of the major pieces of criticism on Caged Bird, paying special attention to the book's early reception and how it fits in the autobiographical genre and the history of slave narratives, as well as issues of race, gender, aesthetics, and identity. The third essay discusses the struggle for black identity through readings of both Caged Bird and James Baldwin's If Beale Street Could Talk.

    Young men serving time in a detention center must discover themselves and find their own strength in this School Library Journal Best Book.

    "Baca's evocation of this landscape," as City Paper noted, "its aridity and fertility, is nothing short of brilliant." The individual poems of Black Mesa are embedded both in the family and in the community life of the barrio, detailing births and deaths, neighbors and seasons, injustices and victories. Loosely interconnected, the poems trace a visionary biography of place.

    

    We're smart, we've inherited classic good looks, we wear fantastic clothes, and we know how to party. We can't help it-we were born this way. Our story begins with three inseparable, completely gorgeous fifteen-year-olds, Serena van der Woodsen, Blair Waldorf, and Nate Archibald. Blair's loved Nate and his glittering green eyes since she was in Bonpoint onesies. Too bad Nate wishes Blair's beautiful best friend, Serena, was the one with the crush. And Serena has a secret she's keeping from them both. Hmmm, something tells me these best friends may not be as close as we thought. . . . How do I know all this? Because I know everything-and lucky for you, I can't keep a secret. So sit back while I untangle this messy little tale and tell you how it all began. Admit it, you're already falling for me. You know you love me. gossip girl

    Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism, the things that draw most people to art in the first place.Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the glories of the Western canon are revised and disfigured to fit the rigid doctrines of identity politics. Pop culture is under assault, too: compliance with identity politics is the measure by which we judge our movies, TV and music.The degree of politicisation means that art no longer plays its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.