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A young outlaw's adventures surviving the turn of the century underworld.
Why, asks Kelly Johnson, does Christian ethics so rarely tackle the real-life question of whether to give to beggars? Examining both classical economics and Christian stewardship ethics as reactions to medieval debates about the role of mendicants in the church and in wider society, Johnson reveals modern anxiety about dependence and humility as well as the importance of Christian attempts to rethink property relations in ways that integrate those qualities. She studies the rhetoric and thought of Christian thinkers, beggar saints, and economists from throughout history, placing greatest emphasis on the life and work of Peter Maurin, a cofounder of the Catholic Worker movement. Challenging and thought-provoking, The Fear of Beggars will move Christian economic ethics into a richer, more involved discussion.
In a world where the slightest edge can mean the difference between success and failure, Leisha Camden is beautiful, extraordinarily intelligent ... and one of an ever-growing number of human beings who have been genetically modified to never require sleep. Once considered interesting anomalies, now Leisha and the other "Sleepless" are outcasts -- victims of blind hatred, political repression, and shocking mob violence meant to drive them from human society ... and, ultimately, from Earth itself. But Leisha Camden has chosen to remain behind in a world that envies and fears her "gift" -- a world marked for destruction in a devastating conspiracy of freedom ... and revenge.
Early in Proud Beggars, a brutal and motiveless murder is committed in a Cairo brothel. But the real mystery at the heart of Albert Cossery’s wry black comedy is not the cause of this death but the paradoxical richness to be found in even the most materially impoverished life. Chief among Cossery’s proud beggars is Gohar, a former professor turned whorehouse accountant, hashish aficionado, and street philosopher. Such is his native charm that he has accumulated a small coterie that includes Yeghen, a rhapsodic poet and drug dealer, and El Kordi, an ineffectual clerk and would-be revolutionary who dreams of rescuing a consumptive prostitute. The police investigator Nour El Dine, harboring a dark secret of his own, suspects all three of the murder but finds himself captivated by their warm good humor. How is it that they live amid degrading poverty, yet possess a joie de vivre that even the most assiduous forces of state cannot suppress? Do they, despite their rejection of social norms and all ambition, hold the secret of contentment? And so this short novel, considered one of Cossery’s masterpieces, is at once biting social commentary, police procedural, and a mischievous delight in its own right.
The extraordinary life—the first—of the legendary, undercelebrated Hollywood director known in his day as “Wild Bill” (and he was!) Wellman, whose eighty-two movies (six of them uncredited), many of them iconic; many of them sharp, cold, brutal; others poetic, moving; all of them a lesson in close-up art, ranged from adventure and gangster pictures to comedies, aviation, romances, westerns, and searing social dramas. Among his iconic pictures: the pioneering World War I epic Wings (winner of the first Academy Award for best picture), Public Enemy (the toughest gangster picture of them all), Nothing Sacred, the original A Star Is Born, Beggars of Life, The Call of the Wild, The Ox-Bow Incident, Battleground, The High and the Mighty... David O. Selznick called him “one of the motion pictures’ greatest craftsmen.” Robert Redford described him as “feisty, independent, self-taught, and self-made. He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense.” Wellman directed Hollywood’s biggest stars for three decades, including Clark Gable, Gary Cooper, Barbara Stanwyck, John Wayne, Lauren Bacall, and Clint Eastwood. It was said he directed “like a general trying to break out of a beachhead.” He made pictures with such noted producers as Darryl F. Zanuck, Nunnally Johnson, Jesse Lasky, and David O. Selznick. Here is a revealing, boisterous portrait of the handsome, tough-talking, hard-drinking, uncompromising maverick (he called himself a “crazy bastard”)—juvenile delinquent; professional ice-hockey player as a kid; World War I flying ace at twenty-one in the Lafayette Flying Corps (the Lafayette Escadrille), crashing more than six planes (“We only had four instruments, none of which worked. And no parachutes . . . Greatest goddamn acrobatics you ever saw in your life”)—whose own life story was more adventurous and more unpredictable than anything in the movies. Wellman was a wing-walking stunt pilot in barnstorming air shows, recipient of the Croix de Guerre with two Gold Palm Leaves and five United States citations; a bad actor but good studio messenger at Goldwyn Pictures who worked his way up from assistant cutter; married to five women, among them Marjorie Crawford, aviatrix and polo player; silent picture star Helene Chadwick; and Dorothy Coonan, Busby Berkeley dancer, actress, and mother of his seven children. Irene Mayer Selznick, daughter of Louis B. Mayer, called Wellman “a terror, a shoot-up-the-town fellow, trying to be a great big masculine I-don’t-know-what. David had a real weakness for him. I didn’t share it.” Yet she believed enough in Wellman’s vision and cowritten script about Hollywood to persuade her husband to produce A Star Is Born, which Wellman directed. After he took over directing Tarzan Escapes at MGM, Wellman went to Louis B. Mayer and asked to make another Tarzan picture on his own. “What are you talking about? It’s beneath your dignity,” said Mayer. “To hell with that,” said Wellman, “I haven’t got any dignity.” Now William Wellman, Jr., drawing on his father’s unpublished letters, diaries, and unfinished memoir, gives us the first full portrait of the man—boy, flyer, husband, father, director, artist. Here is a portrait of a profoundly American spirit and visionary, a man’s man who was able to put into cinematic storytelling the most subtle and fulsome of feeling, a man feared, respected, and loved.
When Lara was twelve, and her younger brother Alfie eight, their father died in a helicopter crash. A prominent plastic surgeon, and Irishman, he had honed his skills on the bomb victims of the Troubles. But the family grew up used to him being absent: he only came to London for two weekends a month to work at the Harley Street Clinic, where he met their mother years before, and they only once went on a family holiday together, to Spain, where their mother cried and their father lost his temper and left early. Because home, for their father, wasn't Earls Court: it was Belfast, where he led his other life... Narrated by Lara, nearing forty and nursing her dying mother, All the Beggars Riding is the heartbreaking portrait of a woman confronting her past just as she realises that time is running out
Dominican Fr. Brendan Larnen and children's author Milton Lomask present the latest in the Vision Books series of saints' lives for youth. The story of St. Thomas Aquinas is one full of moving and dramatic scenes: the flaming destruction of Monte Cassino Abbey, the reception into the Dominican order of the quiet, determined young Thomas, the breath-taking escape from the donjon tower, and the striking instances of the saint's eloquence and brilliance.In this 26th volume of the acclaimed Vision Books series of saints lives, children from ages 9 to 15 will enjoy the exciting story of the man who wrote the masterful Summa Theologica, the advisor to popes who refused ecclesiastical honor, the simple friar who shook the medieval world with his intellect.
In the late 1960s and early 1970s, advocates of legal abortion mostly used the term rights when describing their agenda. But after Roe v. Wade, their determination to develop a respectable, nonconfrontational movement encouraged many of them to use the word choice--an easier concept for people weary of various rights movements. At first the distinction in language didn't seem to make much difference-the law seemed to guarantee both. But in the years since, the change has become enormously important. In Beggars and Choosers, Solinger shows how historical distinctions between women of color and white women, between poor and middle-class women, were used in new ways during the era of "choice." Politicians and policy makers began to exclude certain women from the class of "deserving mothers" by using the language of choice to create new public policies concerning everything from Medicaid funding for abortions to family tax credits, infertility treatments, international adoption, teen pregnancy, and welfare. Solinger argues that the class-and-race-inflected guarantee of "choice" is a shaky foundation on which to build our notions of reproductive freedom. Her impassioned argument is for reproductive rights as human rights--as a basis for full citizenship status for women.
He’s spoken of only in whispers. His origins are a mystery. Some say that he’s descended from the last of the angels. Others say much worse. By all appearances, Rol Cortishane is just another ruthless pirate roaming the lawless seas, raiding warships and slavers. But the truth is something far more complicated and dangerous than anyone can imagine, including Rol. Even as he seeks to escape his birthright, Rol is slowly discovering who—and what—he really is. But the revelation won’t come without exacting a terrible price from Rol and all he loves. Now a treacherous figure from his past has made him a proposition it would be fatal to turn down. Racing against time, Rol must chart a harrowing course across the sea, back to the beautiful Rowen and the people she would rule as Queen. With his steadfast crew—the battle-scarred Creed, the mirthful halftroll Gallico, and a young escaped slave named Giffon—Rol will plunge headlong into a destiny as dark as they come. And toward a terrifying battle against an enemy as determined to destroy the world as Rol is to save it.