Only two Jews, Berish the innkeeper and his daughter Hannah, have survived the brutal Cossack raids. When three itinerant actors arrive in town to perform a Purim play, Berish demands that they stage a mock trial of God instead, indicting Him for His silence in the face of evil. Berish, a latter-day Job, is ready to take on the role of prosecutor. But who will defend God? A mysterious stranger named Sam, who seems oddly familiar to everyone present, shows up just in time to volunteer. The idea for this play came from an event that Elie Wiesel witnessed as a boy in Auschwitz: "Three rabbis--all erudite and pious men--decided one evening to indict God for allowing His children to be massacred. I remember: I was there, and I felt like crying. But there nobody cried."Inspired and challenged by this play, Christian theologians Robert McAfee Brown and Matthew Fox, in a new Introduction and Afterword, join Elie Wiesel in the search for faith in a world where God is silent.

    William David Cleveland Jr. as a desecrated corpse. In the split-second that Paul Watson had to choose between pressing the shutter release or turning away, the world went quiet and Watson heard Cleveland whisper: “If you do this, I will own you forever.” And he has.Paul Watson was born a rebel with one hand, who grew up thinking it took two to fire an assault rifle, or play jazz piano. So he became a journalist. At first, he loved war. He fed his lust for the bang-bang, by spending vacations with guerilla fighters in Angola, Eritrea, Sudan, and Somalia, and writing about conflicts on the frontlines of the Cold War. Soon he graduated to assignments covering some of the world’s most important conflicts, including South Africa, Rwanda, Afghanistan, and Iraq.Watson reported on Osama bin Laden’s first battlefield victory in Somalia. Unwittingly, Watson’s Pulitzer Prize—winning photo of Staff Sgt. David Cleveland — whose Black Hawk was shot down over the streets of Mogadishu — helped hand bin Laden one of his earliest propaganda coups, one that proved barbarity is a powerful weapon in a modern media war. Public outrage over the pictures of Cleveland’s corpse forced President Clinton to order the world’s most powerful military into retreat. With each new beheading announced on the news, Watson wonders whether he helped teach the terrorists one of their most valuable lessons. Much more than a journalist’s memoir, Where War Lives connects the dots of the historic continuum from Mogadishu through Rwanda to Afghanistan and Iraq.From the Hardcover edition.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    officials were turning the surveillance powers of the federal government -- designed to stop terrorist attacks -- against the Republican presidential team. These were the ruthless tactics of a Soviet-style police state, not a democratic republic.The Red Thread asks the simple question: Why? What is it that motivated these anti-Trump conspirators from inside and around the Obama administration and Clinton networks to depart so drastically from "politics as usual" to participate in a seditious effort to overturn an election?Finding clues in an array of sources, Diana West uses her trademark investigative skills, honed in her dazzling work, American Betrayal, to construct a fascinating series of ideological profiles of well-known but little understood anti-Trump actors, from James Comey to Christopher Steele to Nellie Ohr, and the rest of the Fusion GPS team; from John Brennan to the numerous Clintonistas still patrolling the Washington Swamp after all these years, and more.Once, we knew these officials by august titles and reputation; after The Red Thread, readers will recognize their multi-generational and inter-connecting communist and socialist pedigrees, and see them for what they really are: foot-soldiers of the Left, deployed to take down America's first "America First" and most anti-Communist president.If we just give it a pull, the "red thread" is very long and very deep.

    The chafing restrictions of a typical upbringing in upper-class, small town Alabama simply did not apply to Zelda, who was described as an unusual child and permitted to roam the streets with little supervision. Zelda refused to blossom into a typical 'Southern belle' on anyone's terms but her own and while still in high school enjoyed the status of a local celebrity for her shocking behavior. Everybody in town knew the name Zelda Sayre. Queen of the Montgomery social scene, Zelda had a different beau ready and willing to show her a good time for every day of the week. Before meeting F. Scott Fitzgerald, Zelda's life was a constant pursuit of pleasure. With little thought for the future and no responsibilities to speak of, Zelda committed herself fully to the mantra that accompanied her photo in her high school graduation book: "Why should all life be work, when we all can borrow. Let's think only of today, and not worry about tomorrow." But for now Zelda was still in rehearsal for her real life to begin, a life she was sure would be absolutely extraordinary. Zelda Sayre married F. Scott Fitzgerald on the 3rd of April 1920 and left sleepy Montgomery behind in order to dive headfirst into the shimmering, glamourous life of a New York socialite. With the publication of Scott's first novel, This Side of Paradise, Zelda found herself thrust into the limelight as the very epitome of the Flapper lifestyle. Concerned chiefly with fashion, wild parties and flouting social expectations, Zelda and Scott became icons of the Jazz Age, the personification of beauty and success. What Zelda and Scott shared was a romantic sense of self-importance that assured them that their life of carefree leisure and excess was the only life really worth living. Deeply in love, the Fitzgeralds were like to sides of the same coin, each reflecting the very best and worst of each other. While the world fell in love with the image of the Fitzgeralds they saw on the cover of magazines, behind the scenes the Fitzgerald's marriage could not withstand the tension of their creative arrangement. Zelda was Scott's muse and he mercilessly mined the events of their life for material for his books. Scott claimed Zelda's memories, things she said, experiences she had and even passages from her diary as his possessions and used them to form the basis of his fictional works. Zelda had a child but the domestic sphere offered no comfort or purpose for her. The Flapper lifestyle was not simply a phase she lived through, it formed the very basis of her character and once the parties grew dull, the Fitzgeralds' drinking became destructive and Zelda's beauty began to fade, the world held little allure for her. Zelda sought reprieve in work and tried to build a career as a ballet dancer. When that didn't work out she turned to writing but was forbidden by Scott from using her own life as material. Convinced that she would never leave her mark on the world as deeply or expressively as Scott had, Zelda retreated into herself and withdrew from the people she knew in happier times. The later years of Zelda's life were marred by her detachment from reality as, diagnosed with schizophrenia, Zelda spent the last eighteen years of her life living in and out of psychiatric hospitals. As Scott's life unraveled due to alcohol abuse, Zelda looked back on the years they had spent together, young and wild and beautiful, as the best of her life. She may have been right but she was wrong about one thing, Zelda did leave her mark on the world and it was a deep and expressive mark that no one could have left but her. Zelda Fitzgerald: The Biography

    Both include a chronology of the religion's history through today, a glossary of terms, and recommended further reading lists.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    The former Speaker of the House provides insight into how the world of politics really works and how to run a successful political campaign.

    In their struggle for independence, these heroic men and women willingly shed their blood, sweat, and tears--often sacrificing their own lives and fortunes in order to hand down the precious legacy of freedom we all enjoy today. Now is the time for a new generation of American patriots to rise up and join in the fight. Now is the time for every American to return to the virtues, values, and ideals that formed our foundation of freedom, and enable America to remain a great nation, a powerful democracy, and a beacon of hope for the world. American Patriots highlights the heroic men and women who valiantly fought to secure our God-given rights of life, liberty, and the pursuit of happiness--not only for themselves and their children, but for countless future generations. Their stories are a true reminder of the extraordinary faith, courage, and determination that set this country on the path to greatness centuries ago, and an inspiration for future generations of great American patriots.

    Despite coalition compromises, he has turned out to be more radical than Margaret Thatcher. She privatised industries. But he planned to dismantle the welfare state itself - starting with the NHS. The cuts signalled an assault on Britain's post-war social settlement. Children, young people and the poor are bearing the brunt. Social welfare, police, council services, housing and legal aid are under fierce attack. Will it succeed? Writing with their trademark incisiveness and wit, Toynbee and Walker report how a party that failed to win a Commons majority has still been devastatingly effective. Blending analysis and statistics with moving human stories from Sydenham to Sheffield, Cameron's Coup argues that Britain is becoming meaner and harsher. The pressing question now is whether these changes are irrevocable.

    He wrote too much and what he did write is inaccessible and elitist. Right? Wrong. "Shakespeare on Toast" knocks the stuffing from the staid old myth of Shakespeare, revealing the man and his plays for what they really are: modern, thrilling and uplifting drama. Actor and author Ben Crystal brings the bright words and colourful characters of the world's greatest hack writer brilliantly to life, handing over the key to Shakespeare's plays, unlocking the so-called difficult bits and, astonishingly, finding Shakespeare's own voice amid the poetry.Told in five fascinating Acts, "Shakespeare on Toast" sweeps the cobwebs from the Bard - from his language, his life, his time - revealing both the man and his work to be relevant, accessible and full of beans. This is a book for everyone, whether you're reading Shakespeare for the first time, occasionally find him troublesome, think you know him backwards, or have never set foot near one of his plays but have always wanted to ...It's quick, easy and good for you. Just like beans on toast.

    In this startling and passionate book, Aristide demonstrates why those on the bottom will never lie down. A graphic revelation of what happens when "free" trade overruns local markets, eradicates local economies and creates dependence on foreign charity.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    Indeed, Georg Lukacs—one of the most trenchant opponents of Benjamin’s aesthetics—singled out this work as one of the main sources of literary modernism in the twentieth century.The Origin of German Tragic Drama begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of the royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer, and the theatre of Shakespeare and Calderon. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history.The characteristic atmosphere of the Trauerspiel was consequently ‘melancholy’. The emblems of baroque allegory point to the extinct values of a classical world that they can never attain or repeat. Their suggestive power, however, remains to haunt subsequent cultures, down to this century.

    This updated edition addresses the events of the past decade, analyzing how they have influenced Islam’s position in modern culture. Aslan explores what the popular demonstrations pushing for democracy in the Middle East mean for the future of Islam in the region, how the Internet and social media have affected Islam’s evolution, and how the war on terror has altered the geopolitical balance of power in the Middle East. He also provides an update on the contemporary Muslim women’s movement, a discussion of the controversy over veiling in Europe, an in-depth history of Jihadism, and a look at how Muslims living in North America and Europe are changing the face of Islam. Timely and persuasive, No god but God is an elegantly written account that explains this magnificent yet misunderstood faith.