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"A collection of ten contemporary short stories whose characters include a Southwestern rancher's son, an American expatriate widow in Europe, a divorced New England grandmother, and others, all of whom reach important psychological insights through their stories' varied conflicts"--Provided by publisher.
The poet describes how he found his interior landscape on his farm in the hills of Wisconsin and shares his insights into the course of his life, from his Canton, Ohio, youth, to his years as a soldier, to his careers as a writer and publisher, using humor and a meditative spirit.
“Fire Season both evokes and honors the great hermit celebrants of nature, from Dillard to Kerouac to Thoreau—and I loved it.” —J.R. Moehringer, author of The Tender Bar “[Connors’s] adventures in radical solitude make for profoundly absorbing, restorative reading.” —Walter Kirn, author of Up in the Air Phillip Connors is a major new voice in American nonfiction, and his remarkable debut, Fire Season, is destined to become a modern classic. An absorbing chronicle of the days and nights of one of the last fire lookouts in the American West, Fire Season is a marvel of a book, as rugged and soulful as Matthew Crawford’s bestselling Shop Class as Soulcraft, and it immediately places Connors in the august company of Edward Abbey, Annie Dillard, Aldo Leopold, Barry Lopez, and others in the respected fraternity of hard-boiled nature writers.
Success will destroy elemental magic. Failure condemns this world and the next. Pick up the award-winning series, nominated for Best Book of 2017 and winner of Best Worldbuilding, and enter a story described as “Brilliantly contrived and beautifully executed, it reminds us why we love the genre” and, “This was pure magic and 'Epic Fantasy' at its very best.” Six months after a tragic war, the world of Myrrah has found peace. But many of the heroes have not. When Zhao’s reluctant homecoming sparks a battle over the fate of Elementals among his people, he calls on his friends for help only to find they are busy with new problems of their own. And one has the potential to end all magic. For nearly destroying the world in an ancient war, the Ashanti were cursed by the Goddess Mhyrah with lifespans of less than a decade. To regain normal lives for his people, Beh’kana, the Ashanti King, will defy the traditions handed down since the dawn of time, even if that means rekindling an ancient feud—one that nearly destroyed the world before it fully began. His quest to conquer death and gain control of the source of all elemental magic—the spirit realm—threatens to burn the world to ashes. Lavinia did not seek to be named Guardian of the Spheres when she touched each to gain control of elemental power. But now that choice has propelled her to being the key to stopping the Ashanti. She controls the gates that allow magic into the world, and she must close them to prevent the Ashanti from crossing into the spirit realm and gaining power beyond imagination—enough to enslave or destroy the world they once sought to rule. But with the closure of each gate, an elemental power is lost, and those who stand against the Ashanti are less able to fight a threat that seeks control over life and death. Welcome back to the world of Myrrah, full of elemental magic and epic fantasy adventure! The fate of the world hangs in the balance, and the sacrifice to save it might be elemental magic. Discover this exhilarating tale that has received praise such as “It is the sort of read that reminds us how great fantasy can be.” and, “Strong characters and a beautiful world hold up a fine story. We love Ms. Birt’s work, we only wish we’d found her sooner.” The Games of Fire Trilogy bundle contains all three books of the series: Spark of Defiance, Fantasia Reviews 2017 nominated book of the Year Gates of Fire & Earth, and A New Goddess PLUS the Untold Stories of the World of Myrrah that contains novellas and short stories set in the same world (and often featuring familiar characters!).
Students of international drama are turning more and more to the study of Japanese drama, desirous to know to what extent its development duplicates or differs from the evolution of drama in other countries. Stimulated by the colour, originality, power, and poetry, they are interested to know more. This title, first published in 1928, traces the general development of the drama of the Japanese. This book will be of interest to students of drama, theatre studies and Asian Studies.
The departure point of the Islamic religion, the central article of faith from which all else flows, may be stated as follows: God (the only God there is: al-Ilāh, Allah in Arabic; El, Elohim, Jahweh in Hebrew; Khudā or Yazdān in Persian,Tanri in Turkish, ὁ Θεός in Greek, Deus in Latin, God in plain English) has spoken to man in the Qur’ān. This divine communication is seen as the final stage in a long series of divine communications conducted through the prophets. It began with Adam, the first man, who was also the first prophet, because he was the first to whom God revealed Himself. After Adam, God continued to address men through prophets, to warn them that their happiness lay in worshiping Him and submitting themselves to Him, and to tell them of the terrible consequences of disobedience. In each case, however, the message was changed and deformed by perverse men. Finally, in His mercy, God sent down His final revelation through the seal of His prophets, Muhammad, in a definitive form which would not be lost. The Qur’ān, then, is the Word of God, for Muslims. While controversies have raged among them as to the sense in which this is true--whether it is the created or uncreated Word, whether it is true of every Arabic letter or only of the message as a whole, that it is true has never been questioned by them. The Qur’ān was revealed in Arabic. It is a matter of faith in Islam that since it is of Divine origin it is inimitable, and since to translate is always to betray, Muslims have always deprecated and at times prohibited any attempt to render it in another language. Anyone who has read it in the original is forced to admit that this caution seems justified; no translation, however faithful to the meaning, has ever been fully successful. Arabic when expertly used is a remarkably terse, rich and forceful language, and the Arabic of the Qur’ān is by turns striking, soaring, vivid, terrible, tender and breathtaking. As Professor Gibb has put it, "No man in fifteen hundred years has ever played on that deeptoned instrument with such power, such boldness, and such range of emotional effect."1 It is meaningless to apply adjectives such as "beautiful" or "persuasive" to the Qur’ān; its flashing images and inexorable measures go directly to the brain and intoxicate it. It is not surprising, then, that a skilled reciter of the Qur’ān can reduce an Arabic-speaking audience to helpless tears, that for thirteen centuries it has been ceaselessly meditated upon, or that for great portions of the human race, the "High-speech" of seventh-century Arabia has become the true accents of the Eternal. The selections which follow here have been taken from Professor Arberry's translation, the only one in English which has succeeded in suggesting the extraordinary qualities of the original.