"A play in poetry about the lives of five women who don't know one another, nor speak to each other. Rather they're telling their life stories to the audience. Each is facing some crisis in life. Erin speaks bitterly of suicide. Kate, near the end of a life in which she always overcame circumstances, is fearful of death. All the voices speak in counterpoint to one another, leaving an unspoken dialogue as they echo one another. The play moves in counterpoint and resonance until the women speak in chorus their voices exchanging scenes from a common history. Then each sees where her life has moved her. In the end these women's voices are no longer isolated, nor are their lives separate. Voices opened to great audience acclaim in New York City." --Descripción del editor.

"A word to those of you out there who have yet to be offended by something I have written or said: Please be patient. I am working as fast as I can." -Ann Coulter, 2006 Is she ever! Ever since the publication of her Clinton-bashing debut, High Crimes and Misdemeanors, right-wing fire-brand Ann Coulter has made herself one of the most talked-about figures in contemporary American life--and has done so by issuing a near-continuous barrage of insult and invective, which has been described as "shameless," "cruel," "shrill, bombastic, and mean-spirited," "grossly inappropriate," "hate speech." She has called the 9/11 widows "witches" and "harpies," referred to Muslims as "ragheads," called Al Gore a "total fag," and said that both New York Times editor Bill Keller and antiwar congressman Jack Murtha deserved to die. Yet with each new statement--and each new book launch--Coulter somehow manages to co-opt the media as a megaphone for her attacks, while emerging from the backlash miraculously unscathed. Until now. With Soulless, political commentator Susan Estrich takes on Ann and the "Coulter culture" she has created, exposing how the pundit provocatrice has downgraded our political discourse with her irresponsible rhetoric, personal attacks, and slanderous asides. Trawling through Coulter's history of often-violent public statements, Estrich asks which are more cynical: the pundit and her headline-grabbing drive-by character assassinations, or the networks who happily bring her back for more. Soulless also casts a light on "the Anns," wannabes like Michelle Malkin and Glenn Beck, whose imitation Coulterisms coarsen our culture with every passing news cycle. And, most important, she challenges us--the readers, the voters--to remember that behind the huckster's rhetoric lurks a dangerous reactionary whose real agenda is wildly out of step with the American public. As Estrich says, "She knows exactly what she is doing. And she is scary as hell because of it."

Taken collectively, the original essays in this new collection make up the most important exploration of mysticism and language to appear in many years. Written from diverse perspectives on a wide variety of religious and mystical traditions, ranging from Judaism and Christianity to Zen Buddhism and Hinduism, all the essays exhibit great erudition, a mastery of the original mystical sources, and philosophical and hermeneutical sophistication. Further, all recognize the inadequacy of treating the questions surrounding this subject a-contextually - outside of their historic, intellectual, and sociological circumstances. As such, these studies deepen the on-going revisionist, contextualist study of mysticism so powerfully and influentially inaugurated by two previous collections also edited by Steven Katz, Mysticism and Philosophical Analysis and Mysticism and Religious Traditions. Like its predecessors, the present collection includes work by some of the world's leading authorities on mysticism, including Moshe Idel, William Alston, Bernard McGinn, Ewert Cousins, Bimal Matilal, Carl Ernst, and Steven Katz. It is sure to become essential reading for everyone interested in mysticism, as well as those who study religion, comparative religion, philosophy, and history.

In the final months before 9/11, liberal Jewish studies professor Michael Fischer has reunited with his two sisters to celebrate their father's seventy-fifth birthday. Each deeply invested in their own version of family history, the siblings clash over everything from Michael's controversial scholarly work to the mounting pressures of caring for an ailing parent. As destructive secrets and long-held resentments bubble to the surface, the three negotiate--with biting humor and razor-sharp insight--how much of the past they're willing to sacrifice for a chance at a new beginning. IF I FORGET tells a powerful tale of a family and a culture at odds with itself.

The history of India is the engrossing story of an ancient civilization, reborn as a modern nation. More a continent than a single nation, India is home to over one-fifth of humanity, yet it remains a mystery to most non-Indians, barely appreciated and poorly understood. Stanley Wolpert's India provides a much-needed, concise overview of Indian history and culture. His new preface brings the book up to date, discussing national elections, the economic effects of the new globalization, and the consequences of joining the nuclear arms race.

Dogs are invented creatures -- invented by humans, who have been shaping the lives of these four-legged companions for more than 14,000 years. However, we often forget that, just as dogs live in our world, we live in theirs. The Modern Dog is a look at our coevolution, interpreting both canine and human points of view, by Dr. Stanley Coren, the most consistently popular author of dog books ever. A fascinating treasure trove of information gleaned from science, folklore, religious writing, tradition, and politics, The Modern Dog explores not only how dogs behave, but also how we share our lives with our dogs. Much more a romp than a formal exposition, The Modern Dog 's profiles and tales are funny, sweet, quirky, and reveal a lot about both species and our centuries-long partnership. This book will show you how the mutually beneficial relationship between humans and dogs might very well be the reason why early Homo sapiens evolved and survived while Neanderthals became extinct. You will see how dogs have played many prominent roles in human history, from ancient Egypt, where Pharaoh Ramses II was buried with the names and statues of four of his dogs, to modern American politics, where many U.S. presidents have derived comfort from canine companionship. Our modern dog is quite different from the dogs that existed even a century ago, its job having changed dramatically from the hunting, herding, retrieving, and guarding for which many were bred. In this book, you will see that it is often how people respond to and interpret the actions of dogs (and dog owners) that has a greater effect on the dog's life than the behavior patterns that have been programmed into the dog's genes. The Modern Dog will show you how some of your dog's strange and funny habits are his own and some come from you. Illustrated throughout with Dr. Coren's own charming drawings, The Modern Dog chronicles the various aspects of how we interact with dogs, how society responds to dogs, how our relationships with dogs have changed over history, and where dogs fit into our personal and emotional lives. It does this by telling the stories of dogs that work, dogs that love, dogs that behave badly, and dogs that will make you laugh.

For the 150th anniversary of the birth of the "Jewish Mark Twain,"a new translation of his most famous works Tevye the Dairyman and Motl the Cantor's Son are the most celebrated characters in all of Jewish fiction. Tevye is the lovable, Bible-quoting father of seven daughters, a modern Job whose wisdom, humor, and resilience inspired the lead character in Fiddler on the Roof . And Motl is the spirited and mischievous nine-year-old boy who accompanies his family on a journey from their Russian shtetl to New York, and whose comical, poignant, and clear-eyed observations capture with remarkable insight the struggles and hopes and triumphs of Jewish immigrants to America at the turn of the twentieth century. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Kosher Jesus is a project of more than six years research and writing. The book seeks to offer to Jews and Christians the real story of Jesus, a wholly observant, Pharisaic Rabbi who fought Roman paganism and oppression and was killed for it. While many Christians will be confused by its assertion that Jesus never claimed divinity and not only did not abrogate the Torah but observed every letter of the Law, they will find comfort in my tracing most of Jesus' principal teachings back to Jewish sources, this before he was stripped of his Jewishness by later writers who sought to portray him as an enemy of his people. This is especially true of Jesus' most famous oration, the Sermon on the Mount, which is a reformulation of the Torah he studied and to which he was committed. A small sampling: Jesus: (Matt 5:5) Blessed are the meek, for they shall inherit the earth. Hebrew Bible: (Psalms 37) The meek shall inherit the earth, and delight themselves in the abundance of peace. Jesus: (Matt 5:8) Blessed are the pure in heart, for they shall see G-d. Hebrew Bible: (Psalms 24) Who shall ascend the mount of the Lord - the pure-hearted. Jesus: (Matt 5:39) But if anyone strikes you on the right cheek, turn to him the other also. Hebrew Bible: (Lamentations 3:30) Let him offer his cheek to him who smites him.... Jesus: (Matt 6:33) But seek first his kingdom and his righteousness, and all these things shall be yours as well. Hebrew Bible: (Psalms 37:4) Delight yourself in the Lord, and He shall give you the desires of your heart. Jesus: (Matt 7:7) Ask, and it will be given you; search, and you will find; knock, and the door will be opened for you. Hebrew Bible: (Jer 29:13) When you search for me, you will find me; if you seek me with all your heart. Jesus: (Matt 7:23) Then I will declare to them, "I never knew you; go away from me, you evildoers." Hebrew Bible: (Psalms 6:9) Depart from me, all you workers of evil... The book is also for Jews who remain deeply uncomfortable with Jesus because of the Church's long history of anti-Semitism, the deification of Jesus, and the Jewish rejection of any Messiah who has not fulfilled the Messianic prophecies. We Jews will forever reject the divinity of any man, the single most emphatic prohibition of our Bible. And we can never accept the Messiahship of any personality, however noble or well-intended, who died without ushering in the age of physical redemption. But as Christians and Jews now come together to love and support the majestic and humane Jewish state, it's time that Christians rediscover the deep Jewishness and religious Jewish commitment of Jesus, while Jews reexamine a lost son who was murdered by a brutal Roman state who sought to impose Roman culture and rule upon a tiny yet stubborn nation who will never be severed from their eternal covenant with the G-d of Israel.

Paintings, manuscript illuminations, prints, and other works of art reveal the history of medicine, the development of anatomical and scientific illustration, and the work of physicians and surgeons through the ages

Distantly inspired by the real-life friendship between the great historian William Hickling Prescott and his biographer, 'Ticknor' is a witty, fantastical study of resentment; and a biting history of a one-sided friendship.

Americans revere the Constitution even as they argue fiercely over its original toleration of racial slavery. Some historians have charged that slaveholders actually enshrined human bondage at the nation's founding. Sean Wilentz shares the dismay but sees the Constitution and slavery differently. Although the proslavery side won important concessions, he asserts, antislavery impulses also influenced the framers' work. Far from covering up a crime against humanity, the Constitution restricted slavery's legitimacy under the new national government. In time, that limitation would open the way for the creation of an antislavery politics that led to Southern secession, the Civil War, and Emancipation. Wilentz's controversial reconsideration upends orthodox views of the Constitution. He describes the document as a tortured paradox that abided slavery without legitimizing it. This paradox lay behind the great political battles that fractured the nation over the next seventy years. As Southern Fire-eaters invented a proslavery version of the Constitution, antislavery advocates, including Abraham Lincoln and Frederick Douglass, proclaimed an antislavery version based on the framers' refusal to validate property in man. No Property in Man invites fresh debate about the political and legal struggles over slavery that began during the Revolution and concluded with the Confederacy's defeat. It drives straight to the heart of the most contentious and enduring issue in all of American history.--

Can the Holocaust be compellingly described or represented? Or is there some core aspect of the extermination of the Jews of Europe which resists our powers of depiction, of theory, of narrative? In this volume, twenty scholars probe the moral, epistemological, and aesthetic limits of an account or portrayal of the Nazi horror. Christopher Browning, Hayden White, Carlo Ginzburg, Martin Jay, Dominick LaCapra, and others focus first on the general question: can the record of his historical event be established objectively through documents and witnesses, or is every historical interpretation informed by the perspective of its narrator? The suggestion that all historical accounts are determined by a preestablished narrative choice raises the ethical and intellectual issues of various forms of relativization. In more specific terms, what are the possibilities of historicizing National Socialism without minimizing the historical place of the Holocaust? Also at issue are the problems related to an artistic representation, particularly the dilemmas posed by aestheticization. John Felstiner, Yael S. Feldman, Sidra Ezrahi, Eric Santner, and Anton Kaes grapple with these questions and confront the inadequacy of words in the face of the Holocaust. Others address the problem of fitting Nazi policies and atrocities into the history of Western thought and science. The book concludes with Geoffrey Hartman's evocative meditation on memory. These essays expose to scrutiny questions that have a pressing claim on our attention, our conscience, and our cultural memory. First presented at a conference organized by Saul Friedlander, they are now made available for the wide consideration and discussion they merit.

"Many in the United States and Israel believe that Hamas is nothing but a terrorist organization, and that its social sector serves merely to recruit new supporters for its violent agenda. Based on Sara Roy's extensive fieldwork in the Gaza Strip and West Bank during the critical period of the Oslo peace process, Hamas and Civil Society in Gaza shows how the social service activities sponsored by the Islamist group emphasized not political violence but rather community development and civic restoration. Roy demonstrates how Islamic social institutions in Gaza and the West Bank advocated a moderate approach to change that valued order and stability, not disorder and instability; were less dogmatically Islamic than is often assumed; and served people who had a range of political outlooks and no history of acting collectively in support of radical Islam. These institutions attempted to create civic communities, not religious congregations. They reflected a deep commitment to stimulate a social, cultural, and moral renewal of the Muslim community, one couched not only--or even primarily--in religious terms. Vividly illustrating Hamas's unrecognized potential for moderation, accommodation, and change, Hamas and Civil Society in Gaza also traces critical developments in Hamas's social and political sectors through the Second Intifada to today, and offers an assessment of the current, more adverse situation in the occupied territories. The Oslo period held great promise that has since been squandered. This book argues for more enlightened policies by the United States and Israel, ones that reflect Hamas's proven record of nonviolent community building"--

A Library Journal Horror Best Seller From Nebula Award winner Sam J. Miller comes a frightening and uncanny ghost story about a rapidly changing city in upstate New York and the mysterious forces that threaten it. Ronan Szepessy promised himself he'd never return to Hudson. The sleepy upstate town was no place for a restless gay photographer. But his father is ill and New York City's distractions have become too much for him. He hopes that a quick visit will help him recharge. Ronan reconnects with two friends from high school: Dom, his first love, and Dom's wife, Attalah. The three former misfits mourn what their town has become--overrun by gentrifiers and corporate interests. With friends and neighbors getting evicted en masse and a mayoral election coming up, Ronan and Attalah craft a plan to rattle the newcomers and expose their true motives. But in doing so, they unleash something far more mysterious and uncontainable. Hudson has a rich, proud history and, it turns out, the real-state developers aren't the only forces threatening its well-being: the spirits undergirding this once-thriving industrial town are enraged. Ronan's hijinks have overlapped with a bubbling up of hate and violence among friends and neighbors, and everything is spiraling out of control. Ronan must summon the very best of himself to shed his own demons and save the city he once loathed.

Ruth Kluger is one of the child-survivors of the Holocaust. In 1942, at the age of eleven, she was deported to the Nazi "family camp" Theresienstadt with her mother. They would move to two other camps (including Auschwitz-Birkenau) before the war ended. 'Landscapes of memory' is the story of Ruth's life. Of a childhood spent in the Nazi camps and her refusal to forget the past as an adult in America. 'It is not in our power to forgive: memory does that for us,' says Kluger. Not erasing a single detail, not even the inconvenient ones, she writes frankly about the troubled relationship with her mother even through their years of internment, and of her determination not to forgive and absolve the past. It is this memory, pure and harsh, this anger, savage and profound, that makes Kluger's memoir so unforgettable. A gripping narrative and a superb meditation on the relationship between private memory and history, on forgiveness and redemption, 'Landscapes of memory' will become a classic of our times.

Rudolf Arnheim is one of this century's most influential thinkers in the visual arts, and perhaps the most lucid and accessible writer on the arts today. From his now-classic book on film theory to his definitive texts on visual perception, from his seminal treatment of Picasso's Guernica to his primary research on the psychology of the creative process; from his lasting influence as a professor at Harvard to the overcrowded lectures at the University of Michigan in the final decade of his teaching career, Arnheim has shaped the discourse of the visual arts like no other individual in this century. The collection reflects on the scope, direction, and impact of Arnheim's work, through his own words as well as those of the contemporaries he influenced. The book includes an impressive array of essays, interviews, and tributes by internationally recognized artists, architects, and scholars, including art historian Vincent Scully, graphic artist Paul Rand, architect Daniel Libeskind, and writers and artists such as Gyorgy Kepes, Dore Ashton, and Sir Ernst Gombrich. The collection is enhanced by visual material from Arnheim's personal collection, which forms a further narrative strand. This volume cuts across a series of disciplines including art history, psychology, architecture, and studio art. Rudolf Arnheim: Revealing Vision will find an appreciative audience among scholars and specialists whose thinking has been influenced by Arnheim, as well as among general readers interested in the visual arts. "This imaginatively conceived and executed collection is a fine tribute to one of the major thinkers of modernism of the twentieth century--someone whose work has deeply influenced generations of artists, art historians, psychologists, and historians and critics of film." --Donald Preziosi, University of California, Los Angeles

"A dynamic work of reportage" (The New York Times) written "with clarity and...wit" (The New York Times Book Review) about what happens when the ancient boundary between war and peace is erased. Once, war was a temporary state of affairs. Today, America's wars are everywhere and forever: our enemies change constantly and rarely wear uniforms, and virtually anything can become a weapon. As war expands, so does the role of the US military. Military personnel now analyze computer code, train Afghan judges, build Ebola isolation wards, eavesdrop on electronic communications, develop soap operas, and patrol for pirates. You name it, the military does it. In this "ambitious and astute" (The Washington Post) work, Rosa Brooks "provides a masterful analysis" (San Francisco Chronicle) of this seismic shift in how America wages war from an unconventional perspective--that of a former top Pentagon official who is the daughter of two anti-war protesters and married to an Army Green Beret. By turns a memoir, a work of journalism, a scholarly exploration of history, anthropology, and law, How Everything Became War and the Military Became Everything is an "illuminating" (The New York Times), "eloquent" (The Boston Globe), "courageous" (US News & World Report), and "essential" (The Dallas Morning News) examination of the role of the military today. Above all, it is a rallying cry, for Brooks issues an urgent warning: When the boundaries around war disappear, we undermine both America's founding values and the international rules and organizations that keep our world from sliding towards chaos. "--

This revealing autobiography details Roger Corman's rise from Twentieth Century-Fox messenger to antistudio maverick and producer of low-budget "exploitation" films. With such memorable titles as The Little Shop of Horrors, Attack of the Crab Monsters and The Beast with 1,000 Eyes, Corman carved his niche in the history of Hollywood. Photographs.

A team of space archaeologists makes an astonishing discovery about an ancient alien race in this science fiction tale from "a master of his craft" ( Los Angeles Times ). Graduate student Tom Rice is thrilled to embark on his first deep-space archeological expedition. He is part of a team from Earth, venturing out in search of artifacts from a civilization that ruled the universe many millennia ago. Called the High Ones, the members of this long-gone society left tantalizing clues about their history and culture scattered throughout space. One such clue, a "message cube" containing footage of the ancient ones, is more interesting than all of the others combined. It seems to indicate that the High Ones aren't extinct after all--and just like that, Tom Rice's archeological mission has become an intergalactic manhunt, one filled with ever-increasing danger that will send the explorers hurtling headlong into the greatest adventure--and peril--of their lives.

A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.