each) : analog.Part Two Of Two Parts In this second novel of the Earth's Children saga, Ayla, the unforgettable heroine of THE CLAN OF THE CAVE BEAR, sets out solo into a world far from friendly. She is in search of Others like herself...and in search of love. Driven by energies she scarcely understands, she explores where the clan never dared to travel. In a hidden valley she finds not only a herd of steppe horses, but also a unique kinship with animals as vulnerable as herself. Still, nothing prepares her for the emotional turmoil she feels when she rescues a young man, Jondalar -- the first of the Others she has seen -- from almost certain death.

    The sixty-four Companions presented here are representative of that unique generation, a generation without any parallel in history. They come from all walks of life and character. These are stories of real people which can be historically verified. These stories will touch the souls of believers, for they will find in them yet another proof of that conviction that fills their hearts, though it may be denied and its signs effaced by wielders of power in the Muslim lands through treachery and cowardice.

    To a classicist however, the word brings to mind the masterpieces of Sophocles, Shakespeare, and Racine; beautiful dramas featuring romanticized torment. What has tragedy been made to mean by dramatists, storytellers, philosophers, politicians, and journalists over the last two and a half millennia? Why do we still read, re-write, and stage these old plays? This lively and engaging work presents an entirely unique approach which shows the relevance of tragedy to today's world, and extends beyond drama and literature into visual art and everyday experience. Addressing questions about belief, blame, mourning, revenge, pain, and irony, noted scholar Adrian Poole demonstrates the age-old significance of our attempts to make sense of terrible suffering.

    Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts."The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean.The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.

    This book is an integration of 21 stories by Munshi Premchand, some of them are Ansuon ki holi, Namak ka Daroga, Shatranj ke Khiladi and many more.

    Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence. Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's "witch-hunts" in the United States. Within the text itself, Miller contemplates the parallels, writing "Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence." The Viking Critical Library edition of Arthur Miller's dramatic recreation of the Salem witch trials contains the complete text of The Crucible as well as extensive critical and contextual material about the play and the playwright, including:Selections from Miller's writings on his most frequently performed playEssays on the historical background of The Crucible, including personal narratives by participants in the trials and records of witchcraft in Salem from the original documentsReviews of The Crucible, in production by Brooks Atkinson, Walter Kerr, Eric Bentley, and othersExcerpts from Jean-Paul Sartre's Les Sorcières de Salem, a "spin-off" of Miller's play, and three analogous works by Twain, Shaw, and Budd SchulbergCritical essays on the play, on Miller, and on the play in the context of Miller's oeuvreAn introduction by the editor, a chronology, a list of topics for discussion and papers prepared by Malcolm Cowley, and a bibliography

    The feud that erupted as a result has continued for over a century. Lyndall Gordon, an award-winning biographer, tells the riveting story of the Dickinsons, and reveals Emily as a very different woman from the pale, lovelorn recluse that exists in the popular imagination. Thanks to unprecedented use of letters, diaries, and legal documents, Gordon digs deep into the life and work of Emily Dickinson, to reveal the secret behind the poet's insistent seclusion, and presents a woman beyond her time who found love, spiritual sustenance, and immortality all on her own terms. An enthralling story of creative genius, filled with illicit passion and betrayal, "Lives Like Loaded Guns" is sure to cause a stir among Dickinson's many devoted readers and scholars.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    The story is concerned with a young American girl of good Yankee stock, who marries an Englishman, loses him in the Great war, bears his son, and finds herself facing, with her indomitable mother-in-low, the new peril.The White Cliffs starts as a charming and even at times an amusing poem, gathering emotional power as it goes on till it comes to a moving and splendid end. A book for those whose beliefs are now lukewarm. "It is," wrote Mr. R. J. Cruikshank recently in 'The Star' "a promise that the literature which we English-speaking people share in common is beginning to give utterance to this grand theme of union."The poem has been widely popular in America. Lynn Fontanne, the famous American actress, twice read it in serial form on the radio, and it was one of the last books read by Lord Lothian, while Mr. William Lyon Phelps commented: "Not only a very beautiful poem, but a wonderful stody of the English." It has now been twice successfully broadcast by the B.B.C.

    Now the seven books of nonfiction that appeared between 1968 and 2003 have been brought together into one thrilling collection.Slouching Towards Bethlehem captures the counterculture of the sixties, its mood and lifestyle, as symbolized by California, Joan Baez, Haight-Ashbury. The White Album covers the revolutionary politics and the “contemporary wasteland” of the late sixties and early seventies, in pieces on the Manson family, the Black Panthers, and Hollywood. Salvador is a riveting look at the social and political landscape of civil war. Miami exposes the secret role this largely Latin city played in the Cold War, from the Bay of Pigs through Watergate. In After Henry Didion reports on the Reagans, Patty Hearst, and the Central Park jogger case. The eight essays in Political Fictions–on censorship in the media, Gingrich, Clinton, Starr, and “compassionate conservatism,” among others–show us how we got to the political scene of today. And in Where I Was From Didion shows that California was never the land of the golden dream.

    For Jay, a retired research scientist this return to the classroom is his "one last chance" to learn the great literature he'd neglected in his youth--and, even more, a final opportunity to more fully understand his son, a writer and classicist. But through the sometimes uncomfortable months that the two men explore Homer's great work together--first in the classroom, where Jay persistently challenges his son's interpretations, and then during a surprise-filled Mediterranean journey retracing Odysseus's famous voyages--it becomes clear that Daniel has much to learn, too: Jay's responses to both the text and the travels gradually uncover long-buried secrets that allow the son to understand his difficult father at last.

    This collection is an exquisite legacy from a genius of the American short story, in which she scrutinizes territory familiar to her readers: race, faith, and morality. The stories encompass the comic and the tragic, the beautiful and the grotesque; each carries her highly individual stamp and could have been written by no one else.

    Taught to drive at the age of ten by his father, Luke can do more damage with a stick and a clutch than most men can do with a bottle of whiskey and a lousy mood. He counts down the days to his sixteenth birthday when he can finally get his license. Unfortunately, the first thing he does with it is "borrow" his neighbor's car. When Luke is pulled over and found in possession of an air pistol, a ski mask, a stolen TV, and a bag of pot, the unforgiving local magistrate takes scissors to his license and vows to lock him up if he ever stands in front of her again. As Luke's mother explores bad relationships and the lure of vodka, Luke moves in with his older brother, Nick, an easygoing ex-con who wants to steer Luke onto the straight and narrow. In the gnarled, muggy summer that follows, Luke contends with a lovely kleptomaniac girlfriend, a duffel bag full of cocaine, and the realization that he must save his family from themselves even as he plots to beat a path out of town. Dubbed the "Great American Redneck Novel" by Big Fish author Daniel Wallace, Drive Like Hell is a hilarious one-of-a-kind tale set in late '70s Georgia, complete with stock car racing, honky-tonk dancing, pro wrestling, drug dealing, and syndicated television. Dallas Hudgens brilliantly evokes Southern culture in this unforgettable debut that is raucous and wrenching, funny and wise.

    Recently, there had been some strange goings on at Styles St Mary. Evelyn, constant companion to old Mrs Inglethorp, had stormed out of the house muttering something about 'a lot of sharks'. And with her, something indefinable had gone from the atmosphere. Her presence had spelt security; now the air seemed rife with suspicion and impending evil. A shattered coffee cup, a splash of candle grease, a bed of begonias are all Poirot requires to display his now legendary powers of detection. TEN LITTLE NIGGERS (later renamed to And Then There Were None and/or Ten Little Indians): Agatha Christie's world-famous mystery thriller. Ten strangers, apparently with little in common, are lured to an island mansion off the coast of Devon by the mysterious U.N.Owen. Over dinner, a record begins to play, and the voice of an unseen host accuses each person of hiding a guilty secret. That evening, former reckless driver Tony Marston is found murdered by a deadly dose of cyanide. The tension escalates as the survivors realise the killer is not only among them but is preparing to strike again! and again! DUMB WITNESS: Everyone blamed Miss Emily's accident on a rubber ball left on the stairs by her frisky terrier. But the more she thought about her fall, the more convinced she became that one of her relatives was trying to kill her. On April 17th she wrote her suspicions in a letter to Hercule Poirot. Mysteriously he didn't receive the letter until June 28th ... by which time Miss Emily was dead ...

    Fresh from the farms in Italy, Lucia Santa struggles to hold her family together in a strange land. At turns poignant, comic and violent, and with a new preface by the author, The Fortunate Pilgrim is Italian-American fiction at its very best.