Jane Roger's classic bestselling novel of a nineteenth century sect, interweaving religious idealism with the beginnings of socialism

    A love story about two septuagenarians on an auto trip.

    Trained in classical Greek and Latin, Phillips seems to excavate as he forms words into lines, breaking images into tiny parts of thought as he digs for meaning and accuracy. As part of this excavation, Pastoral explores what flesh, wanting, and belief are made of. A finalist for both the National Book Award and the National Book Critics Circle Award, Phillips has produced four collections of accomplished verse in the past few years. In each book, the influence of classical syntax and rhythm can be heard. And with each book, Phillips refines his poetic voice, combining the prayerlike and the erotic, and often elegantly swooping from a whisper to a scream in the space of a few stanzas.This time, the poems fall along a wide range of tones, from italicized commands like "Let me" and "Now" in the poem "Lay Me Down" to a hesitant question, or a deepening well of self-doubt. Phillips is always original, and he's always remembering, even when a poem is firmly written in present tense. He is hyperaware not only of the ancient poets, but also of history, especially the great destructions.In the ominously titled "The Kill," he remembers a familiar daily scene. The speaker analyzes his own love for another in clinical detail that suddenly veers into longing. The way these lines break adds to the sense of tragic fragment, of an ache:      The last time I gave my body up,      to you, I was minded       briefly what it is made of,       what yours is, that      I'd forgotten, the flesh      which always       I hold in plenty no       little sorrow for because -- oh, do      but think on its predicament,      and weep.In just four stanzas, Phillips moves from an image of both love and surrender to a consideration of temporality -- the bald fact that his lover is mortal. This thought of "its predicament" makes him weep, even though death is not a stated issue here.In "The Kill," the last poem in the volume, the speaker anticipates the need to remember. The second poem in the book referred to Pompeii, and the shadow of Pompeii is still resonant as the speaker describes his lover's body, still current and alive despite the title's warning.He remembers a body he has felt before, and probably will feel again -- judging by the present tense of "what yours is." And yet, the speaker here feels the need to freeze that body in time, to memorialize it. The next stanza explains this strong urge to hold on:      We cleave most entirely      to what most we fear      losing. We fear loss      because we understand       the fact of it, its largeness, its      utter indifference to whether      we do, or don't,       ignore it. The "largeness" of loss is what these poems are loath to accept, even as they seek to understand. Each poem tries to break loss down into questions, confessions, prayers, or simple expressions of doubt. While the poems fight against death and inevitable loss, they also seem to seek moral guidance to help with these losses.Nowhere is the search for answers and guidance more apparent than at the endings of these poems, which are frequently questions. Phillips is fond of abrupt, mysterious dashes as conclusions. In his quest for a moral compass, he also quotes from "Lamentations" and draws on familiar Biblical stories. The wanderings of Cain, for example, seem to appear in the backgrounds of poems where man seeks. What's more, the epigraph is from George Herbert, the great poet of faith and the war between faith and flesh. The sense of struggle between opposing ideas is something Phillips incorporates and modernizes into a contemporary parable of carnal love and constant questioning of that love. There's a frequent seesawing in the book, a back-and-forth on the big questions that permeates even the simplest narrative. For example, in "Favor," the second section of a five-part poem called "And Fitful Memories of Pan," Phillips sees a man in the distance:      Even from a distance, I can tell:       a man, clearly.       Gods cast no shadow. The struggle between man and God, between flesh and faith, is hinted at in the first stanza. Man, for Phillips, is an instrument of struggle, a tortured wanderer. The poem continues:      Also, that he tires,       stops to rest, looks like      sleeping, or could use some.       How long he has been,       coming, how long it takes, just      to cross it, the lush      measure that -- all summer -- has      been these well-groomed,       well-fed grounds, the lake      unswum and gleaming, the light      catching, losing      the useless extravagancePhillips basically forms the scene of a man walking into a discussion of man's temporality, the fact that man tires. While what God makes -- "the lake unswum and gleaming" -- needs to make no effort to be beautiful, man exhausts himself just surviving. By the last two stanzas, the speaker concludes that the body must make bets with itself:      Always, the body      wagering --      up, through itself --       Give. What he wants, he shall have.In Phillips's work, man -- though mortal -- still has great power. Man can demand, man can inspire love, and man can pray. In the struggle between man and God, in that constant "wagering," man sometimes wins.&3151;Aviya Kushner

    Edgar Hoover, 1965 Joe Barboza knew that there were two requirements for getting inducted into the Mafia. You had to be Sicilian. And you had to commit a contract killing. The New Bedford-born mobster was a proud Portuguese, not Sicilian, but his dream to be part of La Cosa Nostra proved so strong that he thought he could create a loophole. If he killed enough men, if he did enough of the Mafia's dirtiest biddings, then they would have no choice but to make him a Made Man. Barboza's brutal rise during one of the deadliest mob wars in U.S. history became the stuff of legend, both on the bloodied streets of Boston and in the offices of the FBI and the U.S. Attorney General. He took sick joy in his crimes, and it became increasingly difficult for the mob to keep the Animal on his leash. But soon the hunter became the hunted. Betrayed by the mob and now on the run, Boston's most notorious contract killer forged a Faustian bargain with two unscrupulous FBI agents--a pact that would transform the U.S. criminal justice system. From false testimony and manipulated evidence that sent mob leaders to death row, to the creation of the Witness Protection Program so the feds could protect their prized, cold-blooded witness, this was the horrific, dramatic first act in a story of murder and FBI corruption still being played out today in the news and the courtroom with the capture and trial of Whitey Bulger. Barboza's legacy, buried for years thanks to the murders or deaths of its participants, is finally coming to light and being told in its unvarnished brutality by one of America's most respected true crime writers.

    The play was suppressed for over a decade, but interest in it renewed when Howard and Carr were released from imprisonment from the Tower of London in 1622.The play's scribal manuscript survives, and it was first published by Isaac Reed in 1778.This edition features an introduction, notes, and historical background by Elizabeth Schafer, a biographical sketch of Middleton by William C. Carroll, and Ian Spink's piano/vocal arrangements of the original settings two of the play's songs, "In a Maiden Time Profess'd" composed by John Wilson, and "Come Away, Hecate!" composed by Robert Johnson.

    With no food or drinking water except the condensation found on the cave walls, their survival seemed unlikely. Yet against the odds, a team of determined divers traversed monsoon floodwaters and narrow passageways to find Coach Ek, a stateless orphan devoted to Buddhism, and his young players alive and hopeful.Liam Cochrane spent more than two weeks on the scene, and was stationed outside of the cave entrance in daily contact with divers and other key members of the rescue team, reporting the story for the Australian Broadcast Corporation. In this mesmerizing and inspiring book, he recounts this ultimate race-against-the-clock event. Filled with never-before-reported details based on exclusive access to both the rescue team, Coach Ek, and members of the soccer team and their families, Daring to Hope chronicles the Wild Boars’ ordeal in the cave, and the rescue plan that unfolded outside—including the contentious political negotiations, the early misadventure that halted the operation for crucial hours, and the death of Thai Navy SEAL diver Saman Kunan.Going deep inside the area between the Thai and Myanmar border, better known for methamphetamines and illegal wildlife trade, Cochrane guides us through every aspect of the adventure-turned-nightmare-turned miracle: the team’s agonizing wait in the darkness; the rescuers’ battle against the forces of nature; the work of international experts who pooled their skills to help. Chochrane evokes the rollercoaster of emotions every step of the way—the terror, optimism, sadness, and joy of this indelible experience.Filled with a spirit of true grit, Daring to Hope is a courageous tale of perseverance and a celebration of an inspiring moment when the world came together in hope.

    Her notes cover a period of just under three months, during which time she witnessed and experienced all aspects of the German occupation of the city and the repression of the Jews there. One of a very few diaries written by young people in this region of Europe during the war, Eva's diary offers a close-up contemporaneous view of the decimation of a fragment of Hungary's Jewish community.

    What does it mean to be distracted, and why? In this insightful journey through the lives of philosophers, artists and great political thinkers, Damon Young shows how rewarding patient, sensitive and thoughtful attention to the world can be. He suggests that the opposite of a life of distraction is one of genuine freedom.

    Part 1, Life and Times, traces Larkin’s early years and follows his development, within his career as a university librarian, into one of the most important and popular voices in twentieth-century poetry. Part 2, Artistic Strategies, explores a range of methodologies and aesthetic influences by which Larkin was able to create poetry at once both accessible and profound. Part 3, Reading Larkin, provides detailed critical commentary on many of the poems from his three major collections, The Less Deceived, The Whitsun Weddings and High Windows. Part 4, Reception, outlines the history of Larkin’s reputation from the mid-1950s to the present, examining the debates and ideological confrontations to which his poetry has given rise.BEWARE FAKE REVIEWS ON AMAZON.COM. ****Five Star Reviews on Amazon UK*****Insightful Assessment of a still under-rated Poet. I found this book gripped me from the start. Confirming some things I though I knew, illuminating areas I knew little about and flatly contradicting some misconceptions, the book is insightful, sympathetic and, of course, literate. Here is the real Larkin - a poet I admired more than liked, revealed to be more interesting and accomplished than I knew. By RoyAn Excellent Larkin Teacher provides a great insight into the Poet and his Times. This book reflects great scholarship. Mr Gilroy is a dedicated and insightful reader of Larkin and I recommend this book simply because it has made Larkin one of my favorite poets. By Alexandros Alexandropoulos

    In his second collection of poetry, The Dark Between Stars, he turns his attention to the dualities of our lived experiences—the inescapable connections between our highest highs and lowest lows. He captures the infectious energy of starting a relationship, the tumultuous realities of commitment, and the agonizing nostalgia of being alone again. While grappling with the question of how to live with purpose and find meaning in the journey, these poems offer both honest explorations of loneliness and our search for connection, as well as light-hearted, humorous observations. As Atticus writes poignantly about dancing, Paris, jazz clubs, sunsets, sharing a bottle of wine on the river, rainy days, creating, and destroying, he illustrates that we need moments of both beauty and pain—the darkness and the stars—to fully appreciate all that life and love have to offer.

    Elena's father does deals. And it is while acting as his agent in one such deal—a deal that shortly goes spectacularly wrong—that she finds herself on an island where tourism has been superseded by arms dealing, covert action, and assassination. The Last Thing He Wanted is a tour de force—persuasive in its detail, dazzling in its ambiguities, enchanting in its style.

    Bound or beaten, naked or painted, still or spasmodic: the artist lives his or her art publicly in performance or privately in video and photography; these records form the Works section. Amelia Jones's survey examines the most significant works in the context of social history and Tracey Warr's selection of documents combines writings by artists, critics and philosophers.

    In a rather vague and disorganized manner, he acknowledged the presence of persecutory concerns. He reported unusual experiences like having seen the earth and the bottom of the sea. In the emergency room, he reported concerns that he might have killed a buddy of his and that he could take a friend's soul from his body. He also reported his ability to be in contact with God. Initially he denied any alcohol or drug use. Later on, he admitted having had LSD on several occasions. He described his trips as traveling the world and touching things. He also acknowledged the use of heroin, crack cocaine, mushrooms, ecstasy, and speed, but he was not able to provide more details.This is the story of why somebody typed that.

    By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature.She walks in beauty, like the night Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes: Thus mellowed to that tender lightWhich heaven to gaudy day denies.-- She Walks in Beauty

    From flirting lessons in downtown Manhattan to being offered a good ride in Disneyland by the now legendary Wanda, it was a long, strange and hilarious trip. Now, in The Irish Male at Home and Abroad, O'Connor returns faster, funnier and filthier than ever before. Impersonating Santa Claus in a busy Dublin store on Christmas Eve, spending a penny in Lord Jeffrey Archer's penthouse loo, traipsing the local-radio publicity circuit in 100-degree Australian heat, on the run in revolutionary Nicaragua, contemplating the Shroud of Turin, or making a deposit in a grotty sperm bank - here are tall tales and short stories: absurd, anarchic and unforgettably side-splitting adventures from home and abroad. Laugh-out-loud funny, yet always affectionate and sometimes poignant, O'Connor roams through an Ireland of wife-swapping sodomites and late-night sodalities, when not getting lost in the restless new Europe of beach holidays, terrible beauties and Baywatch lookalikes. It's going to be another weird and uproarious trip. But like Wanda once said: Hitch a ride, sweetheart, and hang on real tight!