Continuing her narration of the story of the Patriarchs in the Book of Genesis, After These Things recounts the relationship between Abraham’s tragic son Isaac and Isaac’s son Jacob. In following the psychological trail of the children of Abraham, the first properly constituted family, we discover all the complexities of love, power, and desire that make them so quintessentially human. Jenny Diski is the author of eight novels and two memoirs: Skating to Antarctica and Stranger on a Train.

The Sea of Light is a wise, beautiful, and very American story of three women and their desire to excel and win - and heal one another - in the highly charged world of athletic competition. Angelita is the hurricane that brings down a plane carrying a team of star-quality swimmers, groomed from childhood to compete at the international level. Babe Delgado is a young Cuban-American woman, presumed dead, who is rescued from the crash. Fifty-one hours in the Atlantic have left her scarred in body and spirit, afraid to compete again. Brenna Allen is a tough, driven swim coach at a small university, grieving for a lover lost to cancer. She finds solace in building her own winning team, driving her overworked captain, Ellie Marks, ever harder. Ellie is a child of holocaust survivors, struggling to own herself and her sexuality as hard as she's working to win. Brenna recruits Babe, promising to help her rebuild her damaged body, strength, and will. The Sea of Light is a story of wins, losses, and passions in a world where destiny and magic interfere with victory, where families are forced to reconcile with private hurts and false dreams, and where a redemptive, healing love between women - erotic and overwhelmingly intimate - stands in stark contrast to the expectations of the world. A sensitive, powerful tale of self-discovery, sexual identity, and violent emotions unleashed by sudden disaster, this novel is sure to command attention and acclaim.

Based on a true story. Yuri, a dissident Soviet writer, is released from detention in a psychiatric hospital, partly through the assistance of one of the doctors, Nina Feldman. Nina and Yuri fall in love and, when he is allowed to emigrate, Nina follows Yuri to England, even though this means leaving her small son in Russia until she can send for him. but once in england, with no income and living in borrowed rooms, they find that things are by no means working out as they had planned.

Every extra pound tells a story . . . At five four and 230 pounds, film critic Jami Bernard took the plunge into what she half-jokingly calls "the heart of darkness"- her innermost self, where, by confronting a past both funny and painful, she was able to let go of those pounds, one by one, week after week. At the end of this intensely personal, bitterly humorous journey, she had lost seventy-five of them. Jami chronicled her weight loss in the New York Daily News , where she was a film critic for thirteen years. This book goes behind the scenes to tell the unvarnished truth of what it's like to live large in a body-obsessed culture that takes no prisoners. Here is the reality of weight loss: a stock-market chart of crazy gains and losses, a crumb trail of doomed relationships, the terrors of pleasure, and the best pizza this side of Naples. With a sharp wit and the confident, easy style that makes her a nationally known critic and champion of women's issues, Jami candidly explores the secret world of fat people-their fears, bodies, clothing; their forbidden love affair with food; and what it's like to leave that all behind and emerge thin again on the other side. Moving, sometimes shocking, and always mordantly funny, The Incredible Shrinking Critic takes it all off-seventy-five pounds and counting.

The Tales of Hoffmann by Jules Barbier is an opera in four acts with an original and novel first act and other important changes. The book explores themes of love, betrayal, and the power of art, with each act presenting a different aspect of Hoffmann's romantic experiences.

Jacqueline Gold is the woman behind the success of the Ann Summers chain. This is a story of determination and suffering, of obstacles and inner-battles which will inspire women across the country. It tells about the secrets of her childhood, her struggle to find love, gain career success and respect, and to have children.

Were Jonah's experiences true to the history of ancient Israel? Were they meant to be read comically, philosophically, allegorically, symbolically, or realistically? And is God godly when acting beyond the comprehension of prophets, let alone ordinary human beings? These issues, and many more, are thoughtfully considered in this meticulously detailed and insightful translation of the original Hebrew text of Jonah as created by Jewish authorities during the second half of the first millennium B.C.E. In these profound and enduring tales, realistic events and miraculous incidents merge, and we never have to wait long to witness the power of God's love or wrath. One of the twelve prophets, Jonah faced more challenges in a short span of time than any other biblical hero. He went to sea and nearly drowned in the belly of a great fish. On land, Jonah journeyed east to Nineveh, where his mission was to spread the word of God in a city plagued by evil. He was tested by God at every tum. But even during his darkest hours, his faith never wavered and through all the tumult, he always listened for the comforting voice of the Lord. Author Jack M. Sasson employs the very latest information in biblical scholarship to interpret the many nuances in Jonah's seemingly simple story. Providing Greek, Hebrew, Latin, Aramaic, and, occasionally, Syriac and Arabic translations, this work is an exciting addition to the world-acclaimed Anchor Bible commentaries. From the Hardcover edition.

With The Rebel , acclaimed award-winning author Jack Dann pulls James Dean from the twisted wreckage and offers him a second chance to make an indelible mark on his art, his culture, and his time in an era of profound change and devastating social upheaval. Surviving the horrific crash that leaves him permanently scarred, both physically and emotionally, the haunted, brooding, and complex young star finds himself charged with a feeling of responsibility to do "something wonderful and important." Yet for Jimmy Dean, the glory road will be winding and broken, littered with the detritus of exploded dreams and destroyed love, as it passes through the holiest cultural sites of postwar twentieth-century America -- the genius-and-drug pumped world of the Beats, the protected inner sanctum of Graceland, the darkest shadows of Camelot. The lives and futures of Kerouac, Sinatra, Elvis, and the Kennedys will all be touched by him -- yet perhaps none so deeply as the fragile sex goddess who will always be his greatest burden and true soul mate, a dazzling and tragically lost phenomenon named Marilyn -- as he moves toward an astonishing destiny that will reconfigure the world. Ingeniously blending historical fact with brilliant invention, The Rebel is a hip, fast, and mesmerizing ride through the fifties and sixties -- an unforgettable road trip across a nation with an American legend at the wheel.

A married, aristocratic young Russian Jew wanders in atonement for sin after falling in love with the wife of his father-in-law, an Austrian rabbi

Known for their repeating motifs and signature tropes, the films of Ingmar Bergman also contain extensive variation and development. In these reflections on Bergman's artistry and thought, Irving Singer discerns distinctive themes in Bergman's filmmaking, from first intimations in the early work to consummate resolutions in the later movies. Singer demonstrates that while Bergman's output is not philosophy on celluloid, it attains an expressive and purely aesthetic truthfulness that can be considered philosophical in a broader sense. Through analysis of both narrative and filmic effects, Singer probes Bergman's mythmaking and his reliance upon the magic inherent in his cinematic techniques. Singer traces throughout the evolution of Bergman's ideas about life and death, and about the possibility of happiness and interpersonal love. In the overtly self-referential films that he wrote or directed (The Best Intentions, Fanny and Alexander, Sunday's Children) as well as the less obviously autobiographical ones (including Wild Strawberries, The Seventh Seal, and the triad that begins with Through a Glass Darkly) Bergman investigates problems in his existence and frequently reverts to childhood memories. In such movies as Smiles of a Summer Night, Scenes from a Marriage, and Saraband, Bergman draws upon his mature experience and depicts the troubled relationships between men who are often weak and women who are made to suffer by the damaged men with whom they live. In Persona, Cries and Whispers, and other works, his experiments with the camera are uniquely masterful. Inspecting the panorama of Bergman's art, Singer shows how the endless search for human contact motivates the content of his films and reflects Bergman's profound perspective on the world.

The development of themes, motifs, and techniques in Bergman's films, from the first intimations in the early work to the consummate resolutions in the final movies. Known for their repeating motifs and signature tropes, the films of Ingmar Bergman also contain extensive variation and development. In these reflections on Bergman's artistry and thought, Irving Singer discerns distinctive themes in Bergman's filmmaking, from first intimations in the early work to consummate resolutions in the later movies. Singer demonstrates that while Bergman's output is not philosophy on celluloid, it attains an expressive and purely aesthetic truthfulness that can be considered philosophical in a broader sense. Through analysis of both narrative and filmic effects, Singer probes Bergman's mythmaking and his reliance upon the magic inherent in his cinematic techniques. Singer traces throughout the evolution of Bergman's ideas about life and death, and about the possibility of happiness and interpersonal love. In the overtly self-referential films that he wrote or directed ( The Best Intentions , Fanny and Alexander , Sunday's Children ) as well as the less obviously autobiographical ones (including Wild Strawberries , The Seventh Seal , and the triad that begins with Through a Glass Darkly ) Bergman investigates problems in his existence and frequently reverts to childhood memories. In such movies as Smiles of a Summer Night, Scenes from a Marriage , and Saraband , Bergman draws upon his mature experience and depicts the troubled relationships between men who are often weak and women who are made to suffer by the damaged men with whom they live. In Persona , Cries and Whispers , and other works, his experiments with the camera are uniquely masterful. Inspecting the panorama of Bergman's art, Singer shows how the endless search for human contact motivates the content of his films and reflects Bergman's profound perspective on the world.

The three are John, Gary and Kris. Three young men who know one another and have learnt to love. Howard Roffman photographed the story of this menage a trois with a loving eye over a long period. Fantasy and reality coalesce and a romantic collage full of sensually erotic pictures is the result.

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902. Excerpt: ... A Ghetto Romance. i. "JJ H, Shimshen, you're a lost fellow; you're somewhat too particular about your clothes to-night. Shimshen, that girl has turned your head, as true as I am a Jew." Yoshe, the driver, a tall, thin-legged man with a black, goat-like beard and small, keen eyes, accompanied his words with a sly wink. He placed his forefinger to his sharppointed nose threateningly, smacked his lips, and burst into a shrill, squeaking laughter, which sounded like the neighing of a horse. "Remember, Shimshen, there'll come a time when you'll call me prophet." "Judging by your foolishness, you ought to make a good prophet indeed," remarked Shimshen, as he removed his apron of stamped sackcloth and resumed applying the whisk-broom to his dust-covered hat and coat. "Tuck away your wisdom for some other time; it's late now. Make haste, let's close the store. We've already driven rather far into the Sabbath." At this Yoshe, the driver, turned out one of the gaslights and winked knowingly as he added: "But, Shimshen, mark my word--you're playing a love affair with that red-cheeked girl. Now, don't try to argue. Didn't I see you blush when she spoke to you? Why, your cheeks were as red as your hair. Poor fellow! You must have felt ashamed of your costume--of your apron. Ha, ha, ha! Mark my word! Yoshe among the prophets and Shimshen among the lovers--I wonder which of us is the greater fool!" "If you only knew who she is," blurted out Shimshen, regarding the driver with contempt. "A girl is a girl! They're all of a kind--born to upset our minds. Come, come, the boss must be through with the Eighteen Blessings by this time--and the poor horses still out in such a hellish heat from five o'clock in the morning" "Wait awhile. Give your battered jades a rest; they've e...

In his first book of non-fiction, originally published in 1962, Herbert Gold explores some not-so-happy problems confronting people in an age of "mass destruction, mass inertia, mass everything." While acknowledging that we live in a time of utmost global significance-war on an enormous scale was a reality of the twentieth century and continues to threaten, unadulterated evil has exhibited itself in grandiose proportions-Gold tackles issues and problems which are very much of significance to the individual: teaching, writing, love, marriage, divorce, and death. In The Age of Happy Problems, Gold takes the reader through a journey of eclectic characters, situations, and locales. Part I is a selection of essays entitled "American Events." In "The Age of Happy Problems" we are presented with an analysis of the problems facing people in the middle of their lives and careers. "How to Be an Artist's Wife" explores the prospect of being married, and remaining married, to a temperamental and egotistical artist. "Divorce as a Moral Act" describes the termination of marriage as a means for renewal and the chance to start over again the search for love. "The Bachelor's Dilemma" evokes the decisions confronting the male of the "big city." And "A Dog in Brooklyn, A Girl in Detroit: A L"ife Among the Humanities" is a memoir on the paradoxes of teaching in a university. Part II is entitled "American Places." The author examines in this section various American lifestyles. In "Paris: Notes from La Vie de Boheme," Gold describes Americans abroad, why they decide to become expatriates, and how they adapt to their new surroundings. In "Greenwich Village: The Changing Village" he writes about the importance of New York City's symbol of change, experiment and nonconformity. Finally, the author meditates on "Death in Miami Beach," offering a moving account of the relationship between death and the popular Florida city. Gold writes: "How can I total it up? What is the map of the map? Well, to begin with, Plato was wrong. The life of contemplation is not sufficient...and for another thing, Plato was right. He knew that men must learn to come together in the practice of intelligence and moral privilege." Gold's essays, stemming from the author's own humanity, are just as poignant and relevant today as they were when they were first published. The Age of Happy Problems is sure to captivate, but perhaps most of all, make the reader contemplate the importance of these issues for his or her own life.

A play for four males and four females. An elderly widow and widower fall in love and decide to live together without getting married, so they can continue to receive their social security benefits, to the consternation of their children.

Experience the wit and charm of 18th-century Italian comedy with "The Comedies of Carlo Goldoni," a collection of plays from one of Europe's most celebrated playwrights. This carefully prepared edition, edited with an insightful introduction by Helen Zimmern, showcases Goldoni's enduring contribution to theater. Carlo Goldoni revitalized Italian drama, moving away from the improvisational style of commedia dell'arte to create fully realized characters and engaging plots. This anthology offers a glimpse into his mastery, demonstrating why his works continue to be studied and enjoyed today. Explore universal themes of love, family, and social class through Goldoni's distinctly Italian lens. Whether you're a student of literature, a theater enthusiast, or simply appreciate classic comedies, this collection provides a rich and rewarding reading experience. "The Comedies of Carlo Goldoni" is a testament to the power of theater to entertain, enlighten, and endure. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"Everyone is fascinated by crime." "When you look at the history of song, romantic love songs may be the dominant mode of songwriting, but second would probably be songs involving crime--murder ballads, political protest songs; crime is a major theme in all songwriting," says Harper Simon. He offers a new and expansive contribution to this legacy with Meditations on Crime , an ambitious multi-media project that includes an album he produced of musical collaborations with a sweeping range of contributors (Julia Holter, Gang Gang Dance, King Khan, the Sun Ra Arkestra) and a book he edited featuring essays by such notables as Miranda July, Hooman Majd, and Jerry Stahl, alongside artwork from giants like Cindy Sherman, Tracey Emin, Julian Schnabel, and Raymond Pettibon. The genesis of Meditations on Crime came in 2016 as the confluence of several ideas. Simon was interested in collaborating with musicians he knew and admired, to create a vinyl LP with an accompanying book--"a beautiful physical object to stand outside the digital world." Given what America was going through during that particular election year, though, he also thought it was a time that called for something more politically charged. Meditations on Crime --if you get down to it, crime is politics and politics is crime, so crime can go a lot of different ways. It seemed to be a way of approaching the moment that was a little more subtle and left space to explore." The songs were developed in a variety of ways: Sometimes Simon sent his collaborators guitar tracks or demos he was working on and had them write over that, sometimes he collaborated on lyrics. On the Sun Ra Arkestra track, he composed melodic themes and went to the group's home base of Philadelphia with the legendary producer Hal Willner, where they fleshed out two songs (Willner passed away in 2020 from Covid; "to have that creative moment with him makes it really touching for me," says Simon. As he reached out to more musicians ("I kind of just went with my gut, and one person led to the next"), Simon retained a consistent backing band for most of the tracks to keep some cohesion. He played most of the guitars, with Paz Lenchantin from the Pixies on bass and Carla Azar, who has played with everyone from Jack White to PJ Harvey to The Who, on drums, as well as members of Ariel Pink's band and Nick Zinner from the Yeah Yeah Yeah's. For the book, Simon points to "On Crime," the essay by Nigerian novelist and poet Ben Okri, as a central piece. "It almost felt like an introduction because it was so philosophical," he says. "It really set the tone and the book started to become less political and more interesting. Once that tone was set, you could go to this beautiful essay on war crimes by Janine di Giovanni, the famous foreign correspondent. You could see it go to a humorous piece by Jerry Stahl or an interview with Kenneth Anger. Wayne Kramer from the MC5 has a foundation called Jail Guitar Doors that brings musical instruments and songwriting to prisoners, and has spent time in prison himself, so I thought he would have an interesting perspective."

"Four short plays by one of Canada's exciting, new theatre voices. In The Russian Play, the flower-shop girl tells the story of her love for the gravedigger. Essay casts a teaching assistant in the shadow of his professor as they argue the merits of a female student's paper. In USSR, a young woman relates her journey to Canada from Russia, and Mexico City follows Henry and Alice on their vacation in 1960. These four plays bring each character to life in full colour, jumping off the page before you and onto the stage."--Jacket

"Standing outside his father's study in Paraguay, Rudi is smoking cigarettes, trying to work up the courage to go in. It has been seven years since he stood in that same spot; seven years since he left his family and their history behind him. As a teenager, Rudi discovered that his father was a doctor at Auschwitz. Trying to reconcile his inherited guilt, Rudi lashed out against his family and his friends, and eventually fled to Germany. While there, he follows in his father's footsteps by studying medicine, and falls in love with Sarah, the daughter of a Holocaust survivor. Questioning redemption, love, guilt, and the sins of the father, East of Berlin is a tour de force that follows Rudi's emotional upheaval as he comes to terms with a frightening past that was never his own"--Publisher's description

Grand Avenue, a street in the center of the northern California town of Santa Rosa where "everybody's connected to everybody, " is home not only to Pomo Indians making a life outside of the reservation but also to Mexicans, blacks, and some Portuguese, all trying to find their way among the many obstacles in their turbulent world. Bound together by a lone ancestor, the lives of the Native Americans from the core of these stories - tales full of cures, poison, family healing rituals, and a kind of humor that allows the inhabitants of Grand Avenue to see their own foibles with a saving grace. A teenage girl falls in love with a crippled horse marked for slaughter . . . an aging healer summons his strength for one final song . . . a father seeks a bond with his illegitimate son . . . a mother searches for the power to care for her cancer-stricken daughter's spirit. Here is a tapestry of lives rendered with the color, wisdom, and quest for meaning of the traditional tale-telling in which they are rooted. Vibrant with the emotions and realities of a changing world, these stories are all equally stunning and from the heart.