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Meticulously edited and annotated, Tennessee Williams's notebooks follow his growth as a writer from his undergraduate days to the publication and production of his most famous plays, from his drug addiction and drunkenness to the heights of his literary accomplishments.
Marian Engel emerged as a writer during that period in Canada when nationalism increased and “new feminism” dawned. Although she is recognized as a distinguished woman of letters, she has not been widely studied; consequently we know relatively little about her and her craft. The material collected in Marian Engel’s Notebooks: “Ah, mon cahier, écoute...” is a major step in redressing that neglect. Extracts carefully chosen by Christl Verduyn from Marian Engel’s forty-nine notebooks — notebooks Engel began in the late 1940s and which she maintained until her death in 1985 — track Engel’s creative development, illustrate her commitment to the craft of writing and document her growth as a major Canadian writer. The notebooks also portray Engel’s surprising leaps of logic, her fascination with the bizarre, the eclecticism of her reading and the depth and variety of her thinking. Finally, they present moving documentation of a woman facing cancer and early death. Christl Verduyn’s illuminating introductory discussions to each of the notebooks unobtrusively guide us in the reading of these sometimes difficult writings. Marian Engel’s Notebooks: “Ah, mon cahier, écoute...” leaves readers with a vivid sense of Canadian culture during the 1960s and 1970s. It provides insight into the literary life of one of Canada’s significant woman writers, including her connections with other Canadian writers, and will be of special interest to scholars working in the field of literature.
John Osborne, the original Angry Young Man, shocked and transformed British theater in the 1950s with his play Look Back in Anger. This startling biography–the first to draw on the secret notebooks in which he recorded his anguish and depression–reveals the notorious rebel in all his heartrending complexity. Through a working-class childhood and five marriages, Osborne led a tumultuous life. An impossible father, he threw his teenage daughter out of the house and never spoke to her again. His last written words were "I have sinned." Theater critic John Heilpern’s detailed portrait, including interviews with Osborne's daughter, scores of friends and enemies, and his alleged male lover, shows us a contradictory genius–an ogre with charm, a radical who hated change, and above all, a defiant individualist.
How do we hope in the face of modernity's failure and postmodernity's absence of foundations? How do we hope when the future seems fearful and no clear way forward appears? How do we hope when despair, indifference, and cynicism dominate the psychic landscape of English-speaking North America? In dialogue with theologians of the cross George Grant and Douglas John Hall, this book unmasks the failure of hope in our time and the vacuum of meaning that remains. As an exercise in the theology of the cross, Waiting at the Foot of the Cross explores the North American context as one in which true hope is discovered only when life's negations are engaged from a posture of waiting trust. Such hope is not passive or blind. Rather, it is attentive, active, open, and spiritually grounded in the One who meets us when all hope is spent. The final chapter proposes a way toward hope for today that inspires subversive resilience in the face of the ambiguities and vicissitudes of life. Readers interested in the theology of the cross, in thinking theologically in our time and place, and those interested in the character of Christian hope will find this book compelling.
The present volume provides a comparative look at the contents and layout features of secondary annotations in biblical manuscripts across linguistic traditions. Due to the privileged focus on the text in the columns, these annotations and the practices that produced them have not received the scholarly attention they deserve. The vast richness of extant verbal and figurative notes accompanying the biblical texts in the intercolumns and margins of the manuscript pages have thus been largely overlooked. The case studies gathered in this volume explore Jewish and Christian biblical manuscripts through the lens of their annotations, addressing the various relationships between the primary layer of text and the secondary notes, and exploring the roles and functions of annotated manuscripts as cultural artifacts. By approaching biblical manuscripts as potential "notepads", the volume offers theoretical reflection and empirical analyses of the ways in which secondary notes may shed new light on the development and transmission of text traditions, the shifting engagement with biblical manuscripts over time, as well as the change of use and interpretation that may result from the addition of the notes themselves.
Noting that even casual readers recognize family relationships as the basis for Kerouac's autobiographical prose, Jones discusses these relationships in terms of Freud's notion of the Oedipus complex."--BOOK JACKET.
Joan Matcham has just discovered that she's pregnant by a man who died ninety years earlier: Abraham Lincoln. His brief sojourn to the Illinois of 1955 ended, he is returned to his own time and place, leaving Joan to deal with the consequences of their night together. Even as friendship, impending motherhood, and a new love revive Joan, she is haunted by recurring visions of the last week of Lincoln's life. Good Friday, the sequel to Abraham Lincoln: A Novel Life, is the second of Wolk's novels published by Ooligan Press, the teaching press at Portland State University. A remarkable work, Good Friday is sure to leave readers eagerly anticipating the final installment of Wolk's Lincoln trilogy.
In this first volume of notebooks, Edward Bond reveals himself to be one of the finest and most creative minds to have emerged in the twentieth century. Exploring the meeting point between politics and the art of the writer, Bond's notes chart the creative progress of his work and thinking over a twenty-year period, from 1959, when his first plays started to be produced at London's Royal Court Theatre, to 1979, when he had achieved fame as a major writer. While providing a detailed commentary on his plays the Notebooks also contain early play drafts, poems and stories, his thoughts on life, Brecht, art and dramatic method as well as his notes on censorship.
"Ginsberg has been one of the most influential poets in America in our time. . . . It has been a spectacular career, and . . . the thinking that went into making it is recorded in these Journals."--The New York Times Book Review