Es ist ein beeindruckend-berührender Rückblick in die dunkelste deutsche Geschichte am Beispiel einer Einzelbiographie [kult]

Book by Porter, Jack Nusan

When King Philip VI expelled the Jews in 1306, some 100,000 men, women, and children were driven from royal France into the neighboring lands of Spain, Provence, Italy, and North Africa. The great expulsion of 1306 was arguably one of the most traumatic moments of medieval Jewish history and would prove to be the harbinger of a series of recalls and expulsions, local and general, culminating in King Charles VI's expulsion decree of 1394. Despite the upheavals of the fourteenth century, the literary productivity of Jews was astonishing. Yet there are few direct references to the catastrophic events of 1306, even in Jewish liturgical and historiographic texts, where one would expect to find them. In No Place of Rest , Susan Einbinder coaxes out the literary traces of this traumatic expulsion. Why did the memory of this proud and vibrant Jewish community fade from historical memory? Where do its remnants reside among later communities and readers? From the lyrics of the supposed "Jewish troubadour" Isaac HaGorni to medical texts and astronomical charts, Einbinder studies a range of writings she reveals to be commemorative. Her careful readings uncover the ways in which medieval Jews asserted their identity in exile and, perhaps more important, helped to preserve or efface their history.

A teacher-student romance at a Vermont college ends when Elizabeth, the student, leaves Paul without telling him she is pregnant. Subsequently, she gives up their baby for adoption and leaves the country. Years later, now a divorced mother with children, Elizabeth finds Paul and they go to face their daughter.

The fourteen stories that make up Jonathan Baumbach's eighth book of fiction deals with parents, children, love, basketball, billiards, reading, marriage, divorce--the essentials of everyday life which, through the author's unique strategy of narrative, come to the reader in unexpected ways. Combining comedy and nightmare, these stories distinguish themselves by the charge of their imaginative life, their concern with language, and the play and replay of their form. "Familiar Games" describes a one-on-one basketball game between a 12-year-old boy and his mother, a match that evokes a childhood memory of sexual mystery; "Passion?" concerns the disrepair of a marriage that has presented itself to friends and the world as ideal; "Children of Divorced Parents" centers on the problematic career of a filmmaker who, after several failed marriages, continues to pursue the illusion of first love; and the title story, "The Life and Times of Major Fiction," investigates the mysterious career of a literary confidence man, an impassioned lover of good books, whose life is itself a pastiche of the plots of major fictions.

Tells the stories of a carpenter raising two young children by himself, a student at Columbia, an unemployed economics major, a divorced father, a dying aunt, and summer at a beach resort

It reads like a thriller page after page. . . . The loveliest of Hilda Bernsteins works about the ugliest of times.Albie Sachs, The Independent Were it not for ordinary heroes like the Bernsteins, South Africa would not be free today.Guardian It was 1963 in South Africa during Apartheid when Lionel Rusty Bernstein was arrested, along with Nelson Mandela and fifteen other leaders of the African National Congress. They were charged with 221 acts of sabotage designed to ferment violent revolution. Rusty was one of two individuals acquitted, and the rest received life sentences. In The World that was Ours, his wife, Hilda Bernstein, offers an astonishing personal account of the events leading up to the Rivonia Trial and describes how, as a white family with four children, they managed to fight a hostile and unjust regime. There was a long night ahead. We are unable to read. We listen all the time, listen for the sound of a car in anticipation that the police will come. If he is in the hands of the police, surely they will bring him to the house to search; they always raid after an arrest. Hilda Bernstein (19152006) lived in London, but in 1933 moved to South Africa where she married Lionel Bernstein. She was elected as a Communist to the Johannesburg City Council; helped found the multiracial Federation of South African Women; and worked closely with the African National Congress Womens League in opposition to apartheid.

Since ancient times, philosophers have written about "the will." But the will is more than a philosophic and scholarly topic. In our everyday speech, what do we mean when we speak of the "will"? Will-words turn up everywhere in the English language. We make wills. We exert our willpower. We are willful at times but merely willing at others. Above all, will is there a hundred times a day, when we use the auxiliary verb "will" to express our intentions or expectations for the future, or simply to indicate the future tense. Yet it takes only a moment's reflection to see that there's a tremendous range of meaning here, and so something to think about. Moreover, all of us have wondered now and then, probably both as children and as adults, whether we are really free, and whether being free means being able to do what we want or being free of wants and desires or something else entirely. That is, we've all wrestled with the issue of free will in our informal, non-scholarly ways. Finally, we've probably asked ourselves whether people who talk about will and willpower are all talking about the same thing or even talking sense. These are all among the issues that Eva Brann puts at the center of Un-Willing. She takes the whole range of questions about the will that are implicit in our everyday lives and everyday thinking, articulates them, shows us how they have been dealt with within the philosophic tradition and contemporary scientific thought-and then wrestles with them herself. Book jacket.

"I have never read a text which goes even half as far as this one in expressing the particular poignancy which lay at the heart of the impressionist movement. I say this as an art critic. As a novelist I would simply like to pay my tribute to the mastery of language, portraiture and storytelling which Figes has now at her command." John Berger ?Reprinted for the first time in nearly 25 years, this shimmering short novel gives an extraordinary portrait of a day in the life of an artist at work and at home. In prose as luminous as the colors Monet is using to portray his beloved garden, Eva Figes guides us through the day, from the dawn ('midnight blueblack growing grey and misty') through midday ('the sun was high now...shrinking what little shadow remained, fading colours, the pink rambler roses on the fence by the railway track looked almost white, and the grass had turned a tired yellow') to evening ('the tide of shadows rising as the sunset glow faded outside and the room grew dark.'). Monet's wife, Alice, grieving for a lost daughter; a living daughter, Germaine, fretting that she will not be able to marry the young man she loves; their friend, the abbe, eating and drinking with them, observing the essential faith of the painter's art; two children, playing, closest to Monet in the freshness and certainty of their vision; all experiencing in very different ways the richness of the light that Monet works unceasingly to pin down in his last, great paintings.

Nine stories examine the barriers that shape modern relationships between lovers, parents and children, and friends

Review 18th And Broadway America Is Artists Have Failed As Everything Comes Crashing Down Babar Is God The Beautiful Children Beautiful Women The Blood Stain Careers Matter Climb Desire For Joie Cook, For Some Reason For M.l. And Others For Mel The Future Task Of Language Hard Wind Heaven Hell Knows No Borders The Holocaust Hustling The Moon I Am Going Blind Now I Have Always Made People Nervous I Will Need A Volunteer I Will Wear Rags Isn't It Enough? Maria Music Ran Fierce Through Her Blood The Night Of The Living Tits One Day When I Was In The Spirit Prayer For The Dead The Question Sad Satan After Hours Scream The Story So Far They Say It's Mars Thief Of Fire Thigns That Go Hush In The Night We Are A Fist What's Your Name Where The Angels Sleep Where The Treasure's Hidden Why Rimbaud Went To Africa Without A Name The Worst -- Table of Poems from Poem Finder®

A novel set in a Europe unlike the one we know, where the followers of Jesus the Christus are a despised minority group, and an old man looks after two silent children who, at night, send him troubling dreams. It examines how heroes and martyrs are made and is written by the author of "The Trap".

Calvinism s influence and reputation have received ample scholarly attention. But how John Calvin himself his person, character, and deeds was remembered, commemorated, and memorialized, is a question few historians have addressed. Focussing on the nineteenth and twentieth centuries, this volume aims to open up the subject with chapters on Calvin s monumentalization in statues and museums, his appearance in novels, children s books, and travel writing, his iconic function for Hungarian nationalists and Presbyterian missionaries to China, his reputation among Mormons and freethinkers, and his rivalry with Michael Servetus in French Protestant memory. The result is a fresh contribution to the field of religious memory studies and an invitation to further comparative research.Contributors include: R. Bryan Bademan, Patrick Cabanel, R. Scott Clark, Thomas J. Davis, Stephen S. Francis, Joe B. Fulton, Botond Gaál, Stefan Laube, Johan de Niet, Herman Paul, James Rigney, Michèle Sacquin, Jonathan Seitz, Robert Vosloo, Bart Wallet, and Valentine Zuber.

In evoking the joy and pain of the Jewish immigrant experience, Anzia Yezierska has no peer. Her stories, written from the 1920s to the 1960s, immortalized the lives of the Jews of New York's Lower East Side. The Open Cage collects sixteen of her best stories and excerpts from her autobiography to illustrate her extraordinary storytelling gift as well as her personal experience as an immigrant woman. Along with her novel Bread Givers, the work gathered here constitutes her enduring achievement. Included are "The Fat of the Land," Children of Loneliness," America and I," The Lost 'Beautifulness, '" and other stories; vignettes from Red Ribbon on a White Horse: My Story; and four remarkable stories of old age. The introduction by Historian Alice Kessler-Harris and the afterword by Yezierska's daughter and biographer, Louise Levitas Henriksen, place the writings in a rich and valuable context.

Born near Manchester in 1948, Anna Mendelssohn authored poetry, fiction, drama, and life writing; she was also a visual artist, musician, and translator. From 1971 to 1977 she served time at Holloway Prison in London due to her involvement in extreme leftist activism. From the early 1980s, Mendelssohn composed nineteen poetry collections and published in journals receptive to her experimental, charged lyrics, among them, Parataxis, Critical Quarterly, and Jacket. Her work appeared in seminal anthologies including Denise Riley's Poets on Writing (1992), Iain Sinclair's Conductors of Chaos (1996), and Rod Mengham and John Kinsella's Vanishing Points: New Modernist Poems (2004). Often situated within the British Poetry Revival, Mendelssohn retained a marginal, if constant, presence in the poetry community in Cambridge, England, where she lived from 1983 until her death in 2009. In 2010, her vast archive of writings and drawings was generously donated by her three children to Special Collections at the University of Sussex. Labelled surrealist and ludic, Mendelssohn's poems draw thematically and stylistically on an expansive lineage that encompasses an international array of post-1850 avant-garde figures such as Charles Baudelaire, Gertrude Stein, Anna Ahkmatova, Nâzim Hikmet, Federico García Lorca, and Tom Raworth. Closely attuned to the fraught legacy of the female vanguard writer, as well as to disparities of class and race, her poems are impassioned, acute, probing, allusive, and unparalleled. Part aesthetic treatise ("a poem is not going to give precise directions"); part antipolitical manifesto ("the war is too close / for revolution to be understood"); part lament ("softly the sound of woe / gallops"); part celebration of the possibilities of poetic noise and possibility, replete with "scoopydoo sounds", "night[s of] pouring gold", and "high walk[s] into fantasy", Mendelssohn's writing resolutely resists containment or category. This scholarly edition is the first replete collection of the poems Anna Mendelssohn published or prepared for circulation in her lifetime, often writing under the name Grace Lake.

The Gospel of John presents its readers, listeners, and interpreters with a serious problem: how can we reconcile the Gospel's exalted spirituality and deep knowledge of Judaism with its portrayal of the Jews as the children of the devil (John 8:44) who persecuted Christ and his followers? One widespread solution to this problem is the so-called "expulsion hypothesis." According to this view, the Fourth Gospel was addressed to a Jewish group of believers in Christ that had been expelled from the synagogue due to their faith. The anti-Jewish elements express their natural resentment of how they had been treated; the Jewish elements of the Gospel, on the other hand, reflect the Jewishness of this group and also soften the force of the Gospel's anti-Jewish comments. In Cast out of the Covenant, this book, Adele Reinhartz presents a detailed critique of the expulsion hypothesis on literary and historical grounds. She argues that, far from softening the Gospel's anti-Jewishness, the Gospel's Jewish elements in fact contribute to it. Focusing on the Gospel's persuasive language and intentions, Reinhartz shows that the Gospel's anti-Jewishness is evident not only in the Gospel's hostile comments about the Jews but also in its appropriation of Torah, Temple, and Covenant that were so central to first-century Jewish identity. Through its skillful use of rhetoric, the Gospel attempts to convince its audience that God's favor had turned away from the Jews to the Gentiles; that there is a deep rift between the synagogue and those who confess Christ as Messiah; and that, in the Gospel's view, this rift was initiated in Jesus' own lifetime. The Fourth Gospel, Reinhartz argues, appropriates Jewishness at the same time as it repudiates Jews. In doing so, it also promotes a "parting of the ways" between those who believe that Jesus is the messiah, the Son of God, and those who do not, that is, the Jews. This rhetorical program, she suggests, may have been used to promote outreach or even an organized mission to the Gentiles, following in the footsteps of Paul and his mid-first-century contemporaries.

The story of how Tomasina and Periwinkle, the scarecrows, meet and what happens when they do.

Excerpt from The Golden Apple: A Musical in Two Acts Submitting lyrics to the cold scrutiny of the public eye is a risky business. Without the protective coloration of the music for which they were intended, and without the support of sym pathetic interpretations, Which can cover a multitude of short comings, lyrics have a tendency to seem fiat. They sometimes convey, on the printed page, a banality which does not exist in performance. Reading poetry and lyrics does not involve the same process. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

. 8vo pp. 246 Rilegato, sovracoperta (hard cover, dust jacket) Ottimo (Fine)