In the latter part of this curious masterwork, a certain Jacques Moran is deputized by anonymous authorities to search for the aforementioned Molloy. In the trilogy's second novel, Malone, who might or might not be Molloy himself, addresses us with his ruminations while in the act of dying. The third novel consists of the fragmented monologue - delivered, like the monologues of the previous novels, in a mournful rhetoric that possesses the utmost splendor and beauty - of what might or might not an armless and legless creature living in an urn outside an eating house. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature.

    This 80-page adaptation has been painstakingly edited to retain the integrity of the original work, and to convey a sense of the author's style and the novel's theme. A low reading level assures success and stimulates a desire for further exploration of this classic tale.Each novel, complete in just 80-pages, has been painstakingly adapted to retain the integrity of the original work. Each provides the reader a sense of the author's style and an understanding of the novel's theme.

    Two of them—The School for Scandal and The Rivals—are among the funniest in the English language.The Rivals, brimming with false identities and with romantic entanglements carried on amid a cloud of parental disapproval, satirizes the pretentiousness and sentimentality of the age. It features a cast of memorable characters, among them the lovely Lydia Languish, whose pretty head has been filled with nonsense from romantic novels; Capt. Jack Absolute, a young officer in love with Lydia; Sir Anthony Absolute, Jack's autocratic father; Sir Lucius O'Trigger, a fiery Irishman; and Jack's provincial neighbor, Bob Acres, a bumptious but lovable country squire in love with Lydia.Hoping to win Lydia's affection, Captain Jack woos the pretty miss by pretending to be a penniless ensign named Beverley, an act that nearly incites a duel with Acres. His actions also provoke serious objections from Lydia's aunt, Mrs. Malaprop, a misspeaking matron whose ludicrous misuse of words gave the English language a new term: malapropism. Ultimately, the hilarious complications are resolved in a radiant comic masterpiece that will entertain and delight theater devotees and students of English drama alike.

    The celebrated author explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and understand what we know.

    In this acclaimed number one national best-seller, one of our country's most distinguished political philosophers argues that the social/political crisis of 20th-century America is really an intellectual crisis. Allan Bloom's sweeping analysis is essential to understanding America today. It has fired the imagination of a public ripe for change.

    But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind — strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.

    

    In Architects of the Culture of Death, authors Donald DeMarco and Benjamin Wiker expose the Culture of Death as an intentional and malevolent ideology promoted by influential thinkers who specifically attack Christian morality's core belief in the sanctity of human life and the existence of man's immortal soul. In scholarly, yet reader-friendly prose, DeMarco and Wiker examine the roots of the Culture of Death by introducing 23 of its architects, including Ayn Rand, Charles Darwin, Karl Marx, Jean-Paul Sartre, Alfred Kinsey, Margaret Sanger, Jack Kevorkian, and Peter Singer. Still, this is not a book without hope. If the Culture of Death rests on a fragmented view of the person and an eclipse of God, the future of the Culture of Life relies on an understanding and restoration of the human being as a person, and the rediscovery of a benevolent God. The personalism of John Paul II is an illuminating thread that runs through Architects, serving as a hopeful antidote.

    Maria Tatar, a leading authority on fairy tales and folklore, explores how heroines, rarely wielding a sword and often deprived of a pen, have flown beneath the radar even as they have been bent on redemptive missions. Deploying the domestic crafts and using words as weapons, they have found ways to survive assaults and rescue others from harm, all while repairing the fraying edges in the fabric of their social worlds. Like the tongueless Philomela, who spins the tale of her rape into a tapestry, or Arachne, who portrays the misdeeds of the gods, they have discovered instruments for securing fairness in the storytelling circles where so-called women’s work—spinning, mending, and weaving—is carried out.Tatar challenges the canonical models of heroism in Joseph Campbell’s The Hero with a Thousand Faces, with their male-centric emphases on achieving glory and immortality. Finding the women missing from his account and defining their own heroic trajectories is no easy task, for Campbell created the playbook for Hollywood directors. Audiences around the world have willingly surrendered to the lure of quest narratives and charismatic heroes. Whether in the form of Frodo, Luke Skywalker, or Harry Potter, Campbell’s archetypical hero has dominated more than the box office.In a broad-ranging volume that moves with ease from the local to the global, Tatar demonstrates how our new heroines wear their curiosity as a badge of honor rather than a mark of shame, and how their “mischief making” evidences compassion and concern. From Bluebeard’s wife to Nancy Drew, and from Jane Eyre to Janie Crawford, women have long crafted stories to broadcast offenses in the pursuit of social justice. Girls, too, have now precociously stepped up to the plate, with Hermione Granger, Katniss Everdeen, and Starr Carter as trickster figures enacting their own forms of extrajudicial justice. Their quests may not take the traditional form of a “hero’s journey,” but they reveal the value of courage, defiance, and, above all, care.“By turns dazzling and chilling” (Ruth Franklin), The Heroine with 1,001 Faces creates a luminous arc that takes us from ancient times to the present day. It casts an unusually wide net, expanding the canon and thinking capaciously in global terms, breaking down the boundaries of genre, and displaying a sovereign command of cultural context. This, then, is a historic volume that informs our present and its newfound investment in empathy and social justice like no other work of recent cultural history.

    As sincerity has become suspect, the upright and honest have taken refuge in irony. Yet our struggle for authenticity in back-to-the-woods movements, folksy songwriting, and a craving for plainspoken presidential candidatesbetrays our longing for the holy grail of sincerity.Bringing deep historical perspective and a brilliant contemporary spin to Lionel Trilling's 1972 Sincerity and Authenticity, R. Jay Magill Jr. argues that we can't shake sincerity's deep theological past, emotional resonance, and the sense of conscience it has carved in the Western soul. From Protestant theology to paintings by crazy people, from French satire to the anti-hipster movement, Magill navigates history, religion, art, and politics to create a portrait of an ideal that, despite its abuse, remains a strange magnetic north in our secular moral compass.

    Thomas Aquinas's five arguments for the existence of God, this book is for you. Written as dialogue between Lucy and AJ in a coffee shop, these arguments are presented by Fradd and Delfino in every day language, with helpful examples and analogies, and by raising and answering objections along the way. Additional resources at the end of the book will deepen your understanding of the material, help you to grow in wisdom, and strengthen your faith.

    In Hooking Up, Tom Wolfe ranges from coast to coast observing 'the lurid carnival actually taking place in the mightiest country on earth in the year 2000.' From teenage sexual manners and mores to fundamental changes in the way human beings now regard themselves thanks to the hot new fields of genetics and neuroscience; from his legendary profile of William Shawn, editor of The New Yorker (first published in 1965), to a remarkable portrait of Bob Noyce, the man who invented Silicon Valley, Tom Wolfe the master of reportage and satire returns in vintage form.

    politics, privilege, runaway nationalist fantasies, collective guilt, and art as a force for change (or not)...It’s a treat to hear him speak his curious mind.”—O MagazineIn these beautiful essays, Wallace Shawn takes us on a revelatory journey in which the personal and political become one.Whether writing about the genesis of his plays, such as Aunt Dan and Lemon; discussing how the privileged world of arts and letters takes for granted the work of the “unobtrusives,” the people who serve our food and deliver our mail; or describing his upbringing in the sheltered world of Manhattan’s cultural elite, Shawn reveals a unique ability to step back from the appearance of things to explore their deeper social meanings. He grasps contradictions, even when unpleasant, and challenges us to look, as he does, at our own behavior in a more honest light. He also finds the pathos in the political and personal challenges of everyday life.With a sharp wit, remarkable attention to detail, and the same acumen as a writer of prose as he is a playwright, Shawn invites us to look at the world with new eyes, the better to understand—and change it.Praise for Wallace Shawn and Essays: “Lovely, hilarious and seriously thought provoking, I enjoyed it tremendously.”—Toni Morrison“Wallace Shawn writes in a style that is deceptively simple, profoundly thoughtful, fiercely honest. His vocabulary is pungent, his wit delightful, his ideas provocative.”—Howard Zinn, author, A People’s History of the United States“Wally Shawn’s essays are both powerful and riveting. How rare to encounter someone willing to question the assumptions of class and the disparity of wealth that grows wider every year in this country. To have such a gentle and incisive soul willing to say what others may be afraid to is considerably refreshing.”—Michael Moore, film-maker Shawn’s language, his unmistakable, original voice, felicitous, is unadorned, elegant, immediate, true. He’s also a brilliant interviewer, as everyone who’s seen My Dinner With Andre (which is just about everyone) knows. And, of course, he’s very funny.”—Tony Kushner, playwright, Angels in America“Wallace Shawn is a bracing antidote to the op-ed dreariness of political and artistic journalism in the West. He takes you back to the days when intellectuals had the wit and concentration to formulate great questions - and to make the reader want to answer them.”—David Hare, playwrightWallace ShawnWallace Shawn is an Obie Award-winning playwright and a noted stage and screen actor (Star Trek, Gossip Girl, The Princess Bride, Toy Story). His plays The Designated Mourner and Marie and Bruce have recently been produced as films. He is co-author of the movie My Dinner with Andre and author of the plays The Fever, The Designated Mourner, Aunt Dan and Lemon, and Grasses of a Thousand Colours.

    Abbott published a brilliant novel about mathematics and philosophy that charmed and fascinated all of England. As both a witty satire of Victorian society and a means by which to explore the fourth dimension, Flatland remains a tour de force. Now, British mathematician and accomplished science writer Ian Stewart has written a fascinating, modern sequel to Abbott's book. Through larger-than-life characters and an inspired story line, Flatterland explores our present understanding of the shape and origins of the universe, the nature of space, time, and matter, as well as modern geometries and their applications. The journey begins when our heroine, Victoria Line, comes upon her great-great-grandfather A. Square's diary, hidden in the attic. The writings help her to contact the Space Hopper, who becomes her guide and mentor through eleven dimensions. Along the way, we meet Schröger's Cat, The Charming Construction Entity, The Mandelblot (who lives in Fractalia), and Moobius the one-sided cow. In the tradition of Alice in Wonder-land and The Phantom Toll Booth, this magnificent investigation into the nature of reality is destined to become a modern classic.

    Some develop very quickly, but do not achieve significant depth; while others develop quite slowly, but seem to be almost unending in the depth of wisdom, trust, hope, virtue, and love they engender. The best way of explaining this is to look at each of the pillars individually.Before doing this, however, it is indispensable for each of us to acknowledge (at least intellectually) the fundamental basis for Christian contemplation, namely, the unconditional Love of God. Jesus taught us to address God as Abba. If God really is Abba; if His love is like the father of the prodigal son; if Jesus' passion and Eucharist are confirmations of that unconditional Love; if God really did so love the world that He sent His only begotten Son into the world not to condemn us, but to save us and bring us to eternal life (Jn 3:16-19); if nothing really can separate us from the love of God in Christ Jesus (Rm 8:31-39); and if God really has prepared us "to grasp fully, with all the holy ones, the breadth and length and height and depth of Christ's love, and experience this love which surpasses all understanding, so that we may attain to the fullness of God Himself" (Eph 3:18-20), then God's love is unconditional, and it is, therefore, the foundation for unconditional trust and unconditional hope. There can be nothing more important than contemplating, affirming, appropriating, and living in this Unconditional Love. This is the purpose of contemplation; indeed, the purpose of the spiritual life itself.