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One bright orange morning a hundred years from now, the comatose body of Wulf Platero-Sietes is pulled from the garbage heap of the Philabalt Bubble City. Dumpster divers-- those forced to live in the Wasteland for political or economic reasons-- watch in amazement as Wulf awakes, mumbling one word, "biofractal." He wanders east into the desert created by fifty years of war. Along the way, our enigmatic hero discovers the meaning of transformation and survival, in a world heir to the destructiveness of Wulf's own inventions from years before. One such invention-- the tube drive-- fires the memory and desire of Gottesman, the former data smuggler who finds Wulf's body. As his tube drive's shell and core disintegrate, the dumpster diver follows Wulf further into the Wasteland, searching out the former leader of the Danish Warriors, Wulf's data security firm. From fractured memories of Wulf's Datakiln computer lab, to surreal visions of the Necropolis at the Wasteland's edge, Gottesman's long, slow replay of his life burns into his brain, narrating the entire story. Wulf, the surviving dumpster divers, and a mysterious group of women known as the Gynes-- found somehow gardening in the Wasteland-- confront Ogre Algol in the Necropolis. In their climactic battle to recover the seeds to the Tree of Life, Wulf fights Ogre's Black Swan Dragon, a turbojet spewing napalm from its mouth and micro-syringes of a gene-altering virus in its tail. But Wulf is no longer merely human...
NY Times bestselling author's new series chronicling the separation of families during the New Order/Old Order split in the Amish community in Lancaster County, PA.
“Downton Abbey meets Gangs of New York…a gem of a novel to be inhaled in one gulp” (Kate Quinn, New York Times bestselling author) about a devoted maid whose secretive world is about to be ripped apart at the seams—a lush and evocative debut set in 19th-century New York that’s perfect for fans of Sarah Waters’s Fingersmith and Emma Donoghue’s Slammerkin. By day, Mary Ballard is dutiful lady’s maid to Charlotte Walden, a wealthy and accomplished belle of New York City high society. But Charlotte would never trust Mary again if she knew the truth about her devoted servant’s past. On her nights off, Mary sheds her persona as prim and proper lady’s maid to reveal her true self—Irish exile Maire O’Farren. She finds release from her frustration in New York’s gritty underworld—in the arms of a prostitute and as drinking companion to a decidedly motley crew consisting of members of a dangerous secret society. Meanwhile, Charlotte has a secret of her own—she’s having an affair with a stable groom, unaware that her lover is actually Mary’s own brother. When the truth of both women’s double lives begins to unravel, Mary is left to face the consequences. Forced to choose between loyalty to her brother and loyalty to Charlotte, between society’s respect and true freedom, Mary finally learns that her fate lies in her hands alone. A captivating historical fiction of 19th century upstairs/downstairs New York City, The Parting Glass examines sexuality, race, and social class in ways that feel startlingly familiar and timely. A perfectly paced, romantically charged “story of the sumptuous world of the privileged and the precarious, difficult environs of the immigrant working poor is highlighted by vibrant characters and a well-paced plot, which will pull readers into the tangled tale” (Publishers Weekly).
At times we may be called to be companions on a journey we would rather not take--the journey of a loved one toward the end of life. For those who choose to serve as close companions of terminally ill relatives or friends, Parting offers the collective wisdom of people from many cultures and faith traditions as a "travel guide" for meaningful companionship--helping someone toward a peaceful transition from this life. Sections of the book discuss how to cross the bridge from ordinary conversation to spiritual reflection; how to provide comforts for the body, mind, and soul; and how to care for yourself while concentrating on the needs of another. Transcending any specific religion or culture, this handbook addresses universal spiritual needs. Designed for easy reading by weary travelers, this practical, pocket-sized guide prepares the spiritual companion for an enriching experience, even on the journey toward life's end. It is an indispensable tool for family members and friends, hospice workers, religious leaders, counselors, and medical providers.
Since the 1930s, philosophy has been divided into two camps: the analytic tradition which prevails in the Anglophone world and the continental tradition which holds sway over the European continent. A Parting of the Ways looks at the origins of this split through the lens of one defining episode: the disputation in Davos, Switzerland, in 1929, between the two most eminent German philosophers, Ernst Cassirer and Martin Heidegger. This watershed debate was attended by Rudlf Carnap, a representative of the Vienna Circle of logical positivists. Michael Friedman shows how philosophical differences interacted with political events. Both Carnap and Heidegger viewd their philosophical efforts as tied to their radical social outlooks, with Carnap on the left and Heidegger on the right, while Cassirer was in the conciliatory classical tradition of liveral republicanism. The rise of Hitler led to the emigration from Europe of most leading philosophers, including Carnap and Cassirer, leaving Heidegger alone on the continent.
Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. Butler engages Jewish philosophical positions to articulate a critique of political Zionism and its practices of illegitimate state violence, nationalism, and state-sponsored racism. At the same time, she moves beyond communitarian frameworks, including Jewish ones, that fail to arrive at a radical democratic notion of political cohabitation. Butler engages thinkers such as Edward Said, Emmanuel Levinas, Hannah Arendt, Primo Levi, Martin Buber, Walter Benjamin, and Mahmoud Darwish as she articulates a new political ethic. In her view, it is as important to dispute Israel's claim to represent the Jewish people as it is to show that a narrowly Jewish framework cannot suffice as a basis for an ultimate critique of Zionism. She promotes an ethical position in which the obligations of cohabitation do not derive from cultural sameness but from the unchosen character of social plurality. Recovering the arguments of Jewish thinkers who offered criticisms of Zionism or whose work could be used for such a purpose, Butler disputes the specific charge of anti-Semitic self-hatred often leveled against Jewish critiques of Israel. Her political ethic relies on a vision of cohabitation that thinks anew about binationalism and exposes the limits of a communitarian framework to overcome the colonial legacy of Zionism. Her own engagements with Edward Said and Mahmoud Darwish form an important point of departure and conclusion for her engagement with some key forms of thought derived in part from Jewish resources, but always in relation to the non-Jew. Butler considers the rights of the dispossessed, the necessity of plural cohabitation, and the dangers of arbitrary state violence, showing how they can be extended to a critique of Zionism, even when that is not their explicit aim. She revisits and affirms Edward Said's late proposals for a one-state solution within the ethos of binationalism. Butler's startling suggestion: Jewish ethics not only demand a critique of Zionism, but must transcend its exclusive Jewishness in order to realize the ethical and political ideals of living together in radical democracy.
An examination of colonialism and its consequences. “A sweeping, poetic homage to Africa, a continent made vivid by Hartley’s capable, stunning prose” (Publishers Weekly). In his final days, Aidan Hartley’s father said to him, “We should have never come here.” Those words spoke of a colonial legacy that stretched back through four generations of one British family. From a great-great-grandfather who defended British settlements in nineteenth-century New Zealand, to his father, a colonial officer sent to Africa in the 1920s and who later returned to raise a family there—these were intrepid men who traveled to exotic lands to conquer, build, and bear witness. And there was Aidan, who became a journalist covering Africa in the 1990s, a decade marked by terror and genocide. After encountering the violence in Somalia, Uganda, and Rwanda, Aidan retreated to his family’s house in Kenya where he discovered the Zanzibar chest his father left him. Intricately hand-carved, the chest contained the diaries of his father’s best friend, Peter Davey, an Englishman who had died under obscure circumstances five decades before. With the papers as his guide, Hartley embarked on a journey not only to unlock the secrets of Davey’s life, but his own. “The finest account of a war correspondent’s psychic wracking since Michael Herr’s Dispatches.” —Rian Malan, author of My Traitor’s Heart
Valedictory addresses offer a way to conceptualize the relation of self to others, private to public, ephemeral to eternal. Whether deathbed pronouncements, political capitulations, or seafaring farewells, "parting words" played a crucial role in the social imagination of Victorian writing. In this compelling new book, Justin Sider traces these public addresses across a wide range of works, from poems by Byron, Tennyson, and Browning, to essays by Twain and Wilde, to novels by Dickens and Eliot. Ironically, while the Victorian era saw the loss of faith in a unitary national public, it asked poetry to address just such a public. Attending to the form, rather than the discursive content, of poets' engagement with public culture, Parting Words explains how the valedictory allowed Victorian poets to explore the ways their poems might be received by distant and anonymous readers in an emergent mass culture. Using a wide array of materials such as letters and reviews to describe the rapidly changing print culture in which poets were intervening, Sider shows how the growing diversification and destabilization of the Victorian reading public was countered by the demand for a public poetry. Characteristically, the speakers of Tennyson's "Ulysses" and Matthew Arnold's "Empedocles on Etna" imagine their farewells as simultaneous entrances into a public space where they and their readers, however distant, might yet meet. This new consciousness anticipated modernist poetry, which in turn used the valedictory to underscore the futility and alienation of such hopes.